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GLOSSARY  OF  WEAVES 
ELEMENTARY  TEXTILE  DESIGNING 
ANALYSIS  OF  COTTON  FABRICS 
ANALYSIS  OF 

WOOLEN  AND  WORSTED  FABRICS 
TWILL  WEAVES  AND  DERIVATIVES 
SATIN  AND  OTHER  WEAVES 
COMBINATION  WEAVES 
CONSTRUCTION  OF  SPOT  WEAVES 
WEAVES  FOR  BACKED  COTTON  FABRICS 
WOOLEN  AND  WORSTED  PLY  WEAVES 
LENO  WEAVES 
PILE  WEAVES 

COLOR  IN  TEXTILE  DESIGNING 
DESIGNING  IN  GENERAL 


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INTERNATIONAL  TEXTBOOK  COMPANY 


92 


Copyright,  1906,  by  International  Textbook  Company. 


Entered  at  Stationers’  Hall,  London. 


Glossary  of  Weaves :  Copyright,  1905,  by  International  Textbook  Company. 
Entered  at  Stationers’  Hall,  London. 

Elementary  Textile  Designing:  Copyright,  1903,  by  CHRISTOPHER  Parkinson 
Brooks.  Copyright,  1905,  by  International  Textbook  Company.  Entered 
at  Stationers'  Hall,  London. 

Analysis  of  Cotton  Fabrics:  Copyright,  1903,  by  Christopher  Parkinson  Brooks. 
Copyright,  1905,  by  International  Textbook  Company.  Entered  at  Sta¬ 
tioners’  Hall,  London. 

Analysis  of  Woolen  and  Worsted  Fabrics:  Copyright,  1902,  by  Christopher 
Parkinson  Brooks.  Copyright,  1905,  by  International  Textbook  Company. 
Entered  at  Stationers’  Hall,  London. 

Twill  Weaves  and  Derivatives:  Copyright,  1902,  by  Christopher  Parkinson 
Brooks.  Copyright,  1905,  by  International  Textbook  Company.  Entered 
at  Stationers’  Hall,  London. 

Satin  and  Other  Weaves  :  Copyright,  1902,  by  Christopher  PARKINSON  BROOKS. 
Copyright,  1905,  by  International  Textbook  Company.  Entered  at  Sta¬ 
tioners’  Hall  London. 

Combination  Weaves:  Copyright,  1902,  by  CHRISTOPHER  Parkinson  Brooks. 
Copyright,  1905,  by  International  Textbook  Company.  Entered  at  Sta-~ 
tioners’  Hall,  London. 

Construction  of  Spot  Weaves:  Copyright,  1902,  by  Christopher  Parkinson 
Brooks.  Copyright,  1905,  by  International  Textbook  Company.  Entered 
at  Stationers’  Hall,  London, 

Weaves  for  Backed  Cotton  Fabrics:  Copyright,  1902,  by  Christopher  Parkinson 
Brooks.  Copyright,  1905,  by  International  Textbook  Company.  Entered 
at  Stationers’  Hall,  London. 

Woolen  and  Worsted  Ply  'Weaves:  Copyright,  1902,  by  Christopher  Parkinson 
Brooks.  Copyright,  1905,  by  INTERNATIONAL  Textbook  Company.  Entered 
at  Stationers’  Hall,  London. 

Leno  Weaves:  Copyright,  1905,  by  Intern  ational  Textbook  Company.  Entered 
at  Stationers’  Hall,  London, 

Pile  Weaves  :  Copyright,  1905,  by  International  Textbook  Company.  Entered 
at  Stationers’  Hall,  London. 

Color  in  Textile  Designing:  Copyright,  1900,  by  CHRISTOPHER  Parkinson  Brooks. 
Copyright,  1905,  by  International  Textbook  Company.  Entered  at  Sta¬ 
tioners’  Hall,  London. 

Designing  in  General:  Copyright,  1901,  by  Christopher  Parkinson  Brooks. 
Copyright,  1905,  by  International  Textbook  Company.  Entered  at  Sta¬ 
tioners’  Hall,  London. 


All  rights  reserved. 


Press  of 

International  Textbook  Company 
Scranton,  Pa. 


92 


14755 


THE  GE  TTY  CENTER 
LIBRARY 


CONTENTS 


Glossary  of  Weaves  Section  Page 

Weaves  Complete  on  2  Ends . 70  3 

Weaves  Complete  on  3  Ends . 70  4 

Weaves  Complete  on  4  Ends . 70  4 

Weaves  Complete  on  5  Ends . 70  7 

Weaves  Complete  on  6  Ends . 70  9 

Weaves  Complete  on  7  Ends . 70  11 

Weaves  Complete  on  8  Ends . 70  12 

Weaves  Complete  on  10  Ends . 70  15 

Weaves  Complete  on  12  Ends . 70  18 

Weaves  Complete  on  16  Ends .  70  22 

Weaves  Complete  on  20  Ends .  70  29 

Weaves  Complete  on  24  Ends .  70  33 

Elementary  Textile  Designing 

Fundamental  Principles  of  Designing  .  .  71  1 

Weave . 71  2 

Method  of  Indicating  the  Weave  on  Design 

Paper . 71  5 

Harness  Draft . 71  9 

Chain  Draft . 71  11 

The  Effect  of  the  Weave . 71  16 

Standard  Types  of  Harness  Drafts  ...  71  17 

Effects  of  the  Harness  and  Chain  Drafts  .  71  23 

Points  to  be  Considered  When  Construct¬ 
ing  Harness  Drafts  . . 71  27 

Analysis  of  Cotton  Fabrics 

Particulars  to  bfe  Determined  by  Analysis  .  72  1 

Warp  Pattern . 72  3 

Filling  Pattern  . 72  4 

iii 


iv 


CONTENTS 


Analysis  of  Cotton  Fabrics — Continued  Section  Page 

Picking  Out . 72  5 

Harness  or  Drawing-in  Drafts . 72  14 

Chain  Draft . 72  17 

Additional  Points  to  be  Determined  by 

Analysis . 72  18 

Analysis  of  Woolen  and  Worsted  Fabrics 

Particulars  to  be  Determined  by  Analysis  73  1 

Dissecting  or  Picking  Out . 73  5 

Additional  Points  to  be  Determined  by 

Analysis . 73  17 

Twill  Weaves  and  Derivatives 

Twill  Weaves . 75  1 

Derivatives  of  Twill  Weaves . 75  10 

Fancy  Twills  ...  75  17 

Entwining  Twills  .  . .  75  20 

Curved  Twills .  75  24 

Skip  Twills  .  .  75  27 

Pointed  Twills .  75  28 

Diamond  Weaves .  75  30 

Diagonal  Weaves .  75  31 

Satin  and  Other  Weaves 

Satins  . 76  1 

Derivative  Weaves  . 76  11 

Granite  Weaves  . . 76  12 

Basket  Weaves . 76  13 

Rib  Weaves . 76  15 

Corkscrew  Weaves  . . 76  18 

Honeycombs .  76  21 

Combination  Weaves 

Stripes  and  Checks . 77  4 

Striped  Weaves . 77  4 

Check-Weaves . *.  .  .  77  12 

Weaves  Resulting  From  Other  Combina¬ 
tions  . 77  20 


CONTENTS 


v 


Combination  Weaves — Continued  Section  Page 


Weaves  Formed  From  Motives . 

Four-Change  Method  of  Constructing  New 
Weaves . 

Construction  of  Spot  Weaves 

Spot  Weaves  Formed  With  One  System 

of  Warp  and  Filling . 

Warp-Spot  Weaves  . 

Filling-Spot  Weaves . 

Spot  Weaves  Formed  With  an  Extra  Sys¬ 
tem  of  Yarn . 

Spot  Effects  With  Extra  Warp . 

Spots  Formed  by  Extra  Filling . 

Weaves  for  Backed  Cotton  Fabrics 

Filling-Backed  Cloth . 

Warp-Backed  Cloths . „  .  . 

Harness  and  Chain  Drafts . 

Piques  and  Bedford  Cords . 

Piques  . 

Bedford  Cords . 

Woolen  and  Worsted  Ply  Weaves 

Backed  Fabrics . 

Filling-Back  Fabrics . .  . 

Cut  Filling-Backed  Fabrics . 

Filling  Reversibles  . 

Warp-Backed  Fabrics  . 

Drafting  of  Backed  Weaves . 

Triple  Cloths . 

Leno  Weaves 

Plain  Gauze . 

Plain  Gauze  on  Close-Shed  Looms  .  .  . 
Plain  Gauze  on  Open-Shed  Looms  .... 
Additional  Mechanisms  Required  .... 

Fancy  Gauze  or  Leno . 

Methods  of  Producing  Fancy  Gauze  Effects 
Dissecting  Leno  Weaves . 


77 

20 

77 

22 

78 

1 

78 

1 

78 

8 

78 

11 

78 

11 

78 

22 

79 

1 

79 

8 

79 

11 

79 

15 

79 

15 

79 

20 

80 

3 

80 

3 

80 

9 

80 

10 

80 

13 

80 

19 

80 

36 

81 

1 

81 

3 

81 

26 

81 

26 

81 

34 

81 

34 

81 

64 

vi 


CONTENTS 


Pile  Weaves  Saturn  Page 

Construction  of  Pile  Fabrics . 82  1 

Filling-Pile  Fabrics . 82  4 

Figured  Filling-Pile  Fabrics . 82 

Warp-Pile  Fabrics . 82  18 

Figured  Warp-Pile  Fabrics . 82 

Varieties  of  Pile  Fabrics .  82  33 

Color  in  Textile  Designing 

Principles  of  Coloring . 83 

Theory  of  Color . 83 

Classification  of  Colors . 83 

Factors  Modifying  the  Coloring  of  Textile 

Fabrics . 83  12 

Methods  of  Applying  Color  to  Textiles  .  83  14 

Color  Effects . 83  14 

Analyzing  Color  Effects . .  .  .  83  19 

Simple  and  Compound  Colorings  ...  84  1 

Two-Color  Patterns . .  ...  84  2 

Three-Color  Patterns  .  .  84  12 

Four-Color  Patterns . 84  16 

Irregular  Simple  Colorings . 84  19 

Compound  Colorings  .  84  24 

Irregular  Compound  Colorings .  84  31 

Stripes,  Checks,  and  Spots . 85  1 

Stripes . 85  1 

Checks .  ....  85  12 

Spots . .85  26 

Designing  in  General 

Duties  of  a  Designer . 86  1 

Designing  Department . 86  2 

Methods  of  Producing  Samples . 86  7 

Origin  of  New  Styles  . 86  7 

Trial  Samples . 86  7 

Selling  Samples . 86  16 


GLOSSARY  OF  WEAVES 


INTRODUCTION 

The  weave,  or  method  of  interlacing  the  warp  and  filling 
yarns,  is,  in  the  majority  of  fabrics,  of  primary  importance, 
since  it  not  only  determines  the  actual  structure  of  the 
cloth,  but  also  greatly  affects  its  ultimate  appearance. 
Thus,  fabrics  composed  of  warp  and  filling  yarns  of  the 
same  material  and  counts  vary  greatly  in  appearance  if 
woven  with  a  plain  weave  or  with  a  twill  weave,  etc.  In 
designing  fabrics  of  various  types  and  constructions,  it 
frequently  happens  that  difficulty  is  experienced  in  obtain¬ 
ing  a  suitable  weave  with  which  to  construct  the  cloth.  It 
is  also  of  great  advantage  to  the  designer  if,  when  designing 
a  fabric,  a  weave  can  be  selected  from  a  number  of  weaves 
that  will  give  the  best  result  and  is  best  suited  to  the  type 
of  fabric  that  it  is  desired  to  produce.  The  utility  of  a 
collection  of  the  more  common  and  valuable  weaves  used 
in  textile  designing,  arranged  and  classified  in  a  compre¬ 
hensive  manner,  is  therefore  readily  apparent.  In  this 
glossary,  a  large  number  of  valuable  weaves  are  given, 
classified  according  to  the  number  of  ends  on  which  they 
are  complete.  Thus,  in  case  a  designer  is  laying  out  a 
fabric  that  it  is  desired  shall  be  woven  with  a  weave  com¬ 
plete  on  8  ends,  a  large  number  of  weaves  complete  on 
this  number  of  ends  are  available,  from  which  a  suitable 
weave  may  be  selected.  It  will  be  understood  that  this 
collection  of  weaves  does  not  contain  every  known  weave, 
since  it  is  possible  to  construct  many  thousands  of  differ¬ 
ent  weaves;  in  fact,  the  number  of. weaves  that  may  be 

For  notice  of  copyright,  see  page  immediately  following  the  title  page 

§70 


92—2 


2 


GLOSSARY  OF  WEAVES 


§70 


made  is  unlimited.  The  collection  of  weaves  given,  how¬ 
ever,  is  complete  enough  for  all  ordinary  purposes  and  con¬ 
tains  examples  of  those  types  in  most  frequent  use  and  that 
are  therefore  of  more  particular  importance.  While  in  some 
cases  it  may  be  found  that  none  of  the  weaves  contained  in 
the  glossary  exactly  meet  the  requirements  of  a  designer 
who  wishes  to  produce  a  certain  fabric,  yet  the  weaves 
shown  will  often  be  of  service  in  suggesting  new  ideas  for 
the  construction  of  a  weave  suitable  for  the  cloth  that  it  is 
desired  to  produce,  or  it  may  even  be  found  that  a  slight 
alteration  of  some  one  of  the  weaves  shown  will  so  change 
its  structure  and  the  effect  that  it  will  produce  in  a  fabric 
as  to  render  it  perfectly  adapted  to  the  purposes  of  the 
designer.  The  weaves  given  are  numbered  consecutively, 
and  throughout  the  following  Sections  dealing  with  the  vari¬ 
ous  features  of  textile  designing,  frequent  reference  is  made 
to  them. 


§70 


GLOSSARY  OF  WEAVES 


3 


WEAVES  COMPLETE  ON  2  ENOS 


□BDBDBDB 

DflDBUBDB 

□□□□□□□□ 

□BDBDBDB 

B  B  B  B 

DB  iBDBDB 

□□□□□□□□ 

□BDBDBDB 

□BDBDBDB 

BDBDBDB  . 

□BDBDBDD 

□BDBDBDB 

BDBDBDBD 

BDBDBDBD 

□BDBDBDD 

iLB'LB  JB(  jB 

□BDBDBDB 

□  B  D'BDBDB 

□BDBDBDD 

BDBDBDBD 

BDBDBDBD 

□BDBDBD3 

BDBDBDDD 

BDBDBDBD 

□BDBDBDB 

BDBDBDBD 

BDBDBDDD 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

BDBDBDDD 

BDBDBDBD 

1 

2 

3 

4 

BDBDBDBD 

□□□□□□□□ 

□□□□□□□□ 

•□□□□□□□□ 

■DBDBDBU 

□□□□□□□□ 

□□□□□□□□ 

BDBDBDDD 

BDBDBDBU 

□□□□□□□□ 

BDBDBDDD 

□BDBDBDD 

LB!  :B'  iBDB 

BDBDBDBD 

□BDBDBDD 

□BDBDBDD 

BDBDBDBD 

□BDBDBDB 

□BUBDBDD 

□BDBDBDD 

BDBDBDBD 

□BDBDBDB 

□BDBDBDD 

□BDBDBDD 

BDBDBDBD 

□BDBDBDB 

□BDBDBDD 

□BDBDBDD 

□BDBDBDB 

BDBDBDBD 

BDBDBDDD 

BDBDBDDD 

5 

m 

6 

7 

8 

BDBDBDBD 

□BDBDBDB 

□□□□□□□□ 

□□□□□□□□ 

UBDB.  'BDB 

BDBDBDBD 

□□□□□□□□ 

□□□□□□□□ 

□B  B  fl  B 

BDBDBDBD 

□BDBDBDD 

□BDBDBDD 

□BuBjBDB 

BDBDBDBD 

BDBDBDDD 

□BDBDBDD 

□BDBDBDB 

□BDBDBDB 

BDBDBDDD 

□BDBDBDD 

□BDBDBDB 

□BDBDBDB 

□BDBDBDD 

□BDBDBDD 

□Bl  jBDBDB 

□BDBDBDB 

□BDBDBDD 

□BDBDBDD 

BDB LB  LBD 

BDBDBDBD 

BDBDBDDD 

BDBDBDDD 

9 


10 


11 


12 


□■□■□■□a 

■  ji 

bdbdbdbd 

BDBDBDBD 

□bdbdbdb 

a  a  a  ;a 

□BDBDBDB 

□BDBDBDB 


BDBDBDBD 

bdbdbdbd 

BDBGBGBG 

BDBDBDBD 

□BDBDBDB 

□BDBDBDB 

□bdbdsdb 

BUBdBDBU 


13 


BDBDBDBD 

bdbdbdbd 

bdbdbdbd 

BDBDBDBD 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 


BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

BDBDBDBD 


14 


BDBDBDBD 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 


□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 


15 


□□□□□□□□ 

□□□□□□□□ 

□BDBDBDD 

□BDBDBDD 

BDBDBDDD 

□BDBDBDD 

□BDBDBDD 

BDBDBDDD 


□□□□□□□□ 

□BDBDBDB 

□BDBDBDB 

□BDBDBDB 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 

BDBDBDBD 


□□□□□□□□ 

□□□□□ODD 

□□□□□□□□ 

□BDBDBDD 

□BDBDBDD 

□BDBDBDD 

□BDBDBDD 

BDBDBDDD 


16 


17 


18 


4 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  3  ENDS 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□■□■■□a 

□□□■■□■a 

□DBDHBDB 

□DDBBDBB 

□□□□□□□□ 

□□□□□□□□ 

□BDDDBDD 

bdbdbdbd 

dddbdddb 

□BDDDBDD 

BDBDBDBD 

□DDBDDDB 

19 

20 

21 

■■□□□□□□ 

■■□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□DBBBBDD 

□□BBDDBB 

□□□□BBBB 

□DBHHBDC 

□□BBDDBB 

□□□□BBBB 

- 

□□□□□□□□ 

□□□□□□□□ 

□DBBBDDD 

□□□□BBBQ 

ddbdddbb 

□□BBBann 

□DDDBBBD 

□DBDDDBB 

22 

23 

□dbddbdd 

24 

□dbddbdd 

□□□□□□□□ 

□□□□□□□□ 

□BBDBBDD 

□□□□□□□□ 

□□□□□□□□ 

□□□BBQDD 

BBDDDBDD 

□□BDQDBB 

□DDBBDDD 

BBDDDBDn 

□DBDDDBB 

□□□□□□□□ 

□□□□□□□□ 

BDQBBQan 

BBDDDBBD 

□DBBDDJBB 
BDDBBDQD 
BBaQI  JBBGl 

□□BBDDBB 

25 

26 

27 

WEAVES  COMPLETE  ON  4  ENDS 


BDG1BDDR 

□□BBDDEB 

□BBQDBBD 

BBDDSBDD 

BDDBBDDB 

□□BBDDBB 

□BBDDBBn 

BBQDBBQG 

□DDBDDDB 

□DBDDDBD 

□BDDDBDD 

bdddbddd 

□DDBDDDB 

□DBDDDBD 

□BDDDBDD 

bdddbddd 

□BBBDBBB 
■  9EB  BB 
iBBBBB 
BBB.  BBS  : 
□BHBQBBB 
BQBBBQBB 
BBQBBBB 
BBBQBBBQ 

□DBDDDBD 

□DDBDDDB 

□BDDDBDD 

BDDDBDDD 

□DBDDDBD 

□DDBDDDB 

□BDDDBDD 

BDDDBDDD 

28 

29 

30 

31 

BDBGBDEH 

□BHE3DSKS 

BBDBHEDH 

HHHDHBBD 

BGBBIDBB 

□BSHOSaB 

BBQBBBQ0 

HBBDBBBD 

BBBB' 
HHDDEBDD 
BBBB 
□□BBDDBB 
bdh : b  b 
bbddbbdd 
dbdbdbdb 

□□BBDDBB 

□BBDDBBD 
BBDDBBaD 
□BBDDBBn 
□□BBDDHB 
□BHDDBBD 
BBDDBBDD 
□BBDDBBn 
□  □S@BD.DBB 

□DBDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 

□DBDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 

32 

33 

34 

35 

□□BBQQBE 

□□BBDDHB 

BBDDBBDD 
BBQDBBm 
□□BflQJBB 
□□BBLI.  JBB 

BBDDBBDD 

BBDDBBDD 

□DBDDDBD 

□□BBGQBfl 

BBDDBBDD 

□BDDDBDD 

□DBDDDBD 

□□BBDDBB 

bbddbbdd 

□bdddbdd 

BDBBBDBB 

□□BBDDBB 

BBDDBBDD 

BBDBBBDB 
■  L'jBBBQBB 
□□BBDDBB 
BBDDBBDD 
BBDBBBDB 

□□BBDDBB 

BBDDBBDD 

□□BBDDBB 

BBDDBBDD 

□□BBDDBB 

BBDDBBDD 

□□BBDDBB 

BBDDBBDD 

36 

37 

38 

39 

§70 


GLOSSARY  OF  WEAVES 


5 


WEAVES  COMPLETE  ON  4  ENDS  —  (Continued) 


DBBSDBBB 

■BDDBBDD 

BBDDBBDD 

DBDBDBDB 

BDDDBDDD 

BDDDBDDD 

BBBDBBBD 

BDDDBDDD 

□BSBDBBB 

OODBDDOB 

DBBBDBSB 

DBDBDBDB 

BDDDBDDD 

DDBBDDBB 

DDBBDDBa 

DDBDDDBD 

□BBBDBS3 

BBDDBBDD 

SBDDHBDD 

DBDBDBDB 

BDDDBDDD 

BDDDBDDD 

BBBDBBBD 

BDDDBDDD 

DBBB"B9B 

DDDBDDDB 

□BBBDEBfl 

DBDBDBDB 

BDDDBDDD 

DDBBDDBB 

DDBBDDBB 

DDBDDDBD 

40 

41 

42 

43 

DBDDDBOD 

BBBDBBBD 

DBDDDBDD 

DDDBDDDB 

DBDDDBDD 

BBBDBBBD 

DBDDDBDD 

DDDBDDDB 

DBDBDBDB 

BBDDBBDD 

DBDBDBDB 

DDBBDDBB 

DBDBDBDB 

BBDDBBDD 

DBDBDBDB 

DDBBDDBB 

BDBDBDBD 

DBBDDBBD 

DBDBDBDB 

DBBDDBBD 

BDBDBDBD 

DBBDDBBD 

DBDBDBDB 

DBBDDBBD 

DBBBDBBB 

BDDDBDDD 

DDBDDDBD 

BBDBBBDB 

DBBBDBBB 

BDDDBDDD 

DDBDDDQD 

BBDBBBDB 

44 

45 

46 

47 

DDOODDDD 

DDOOODDD 

DDBDDDBD 

DBBBDBBB 

DDBDDDBD 

BOODBOOO 

BBDBBBDB 

BDDDBDDD 

DDDDDDDD 

ODODOOOO 

DBDDDBDD 

BBDDBBDD 

DBDDDBDD 

DDBDDDBD 

DDBBDDBB 

DDBDDDBD 

DDDDDDDD 

DDDDDDDD 

BDDBBDDB 

DBDBDBDB 

BDDBBDDB 

DBBDDBBD 

□BDBDBDB 

DBBDDBBD 

DDDDDDDD 

DDDDDDDD 

BBDDBBDD 

DBDBDBDB 

DDBDDDBD 

DBDDDBDD 

BDBDBDBD 

□DBB(  UDBB 

48 

49 

50 

51 

DDDBDDDB 

DDDBDDDB 

DDBDDDBD 

DDBDDDBD 

DBDDDBDD 

DBDDDBDD 

BDDDBDDD 

BDDDBDDD 

BDDDBDDD 

BDDBBDDB 

DDDBDDDB 

DDBBDDBB 

DDBDDDBD 

DBBDDBBD 

DBDDDBDD 

BBDDBBDD 

BDDBBDDB 

DDBBDDBB 

DDBBDDBB 

DBBDDBBD 

DBBDDBBD 

BBDDBBDD 

BBDDBBDD 

BDDBBDDB 

DDBBDDBB 

DBBDDBBD 

DDBBDDBB 

BDDBBDDB 

BBDDBBDD 

DBBDDBBD 

BBDDBBDD 

BDDBBDDB 

52 

53 

54 

55 

DBDBDBDB 

BDDBBDDB 

BDBDBDBD 

DDBBDDBB 

DBDBDBDB 

DBBDDBBD 

BDBDBDBD 

BBDDBBDD 

BDDBBDDB 

DBDBDBDB 

DDBBDDBB 

BDBDBDBD 

DBBDDBBD 

DBDBDBDB 

BBDDBBDD 

BDBDBDBD 

DDDBDDDB 

DBDBDBDB 

DDBDDDBD 

BDBDBDBD 

DBDDDBDD 

□BDBDBDB 

BDDDBDDD 

BDBDBDBD 

DDBBDDBB 

DDDBDDDB 

DBBDDBBD 

DDBDDDBD 

BBDDBBDD 

DBDDDBDD 

BDDBBDDB 

BDDDBDDD 

56 

57 

58 

59 

BBDBBBDB 

□BBBDSSB 

BBBDBBBD 


DDBDDDBD 


DBBDDBBD 

BBDDBiDD 

□BDBDBDB 

DDBBDDBB 

■□□BBQDB 

■BDDBBDa 

BDBDBDBD 

□□BBDDBB 


BDBDBDBD 

BDDBBDDB 
DBDBDBDB 
DBBDDBHD 
BDBDBDBD 
□  BISDDBBD 
□BDBDBD0 
BaaBBaas 


60  61 


62 


63 


6 


GLOSSARY  OF  WEAVES 


70 


WEAVES  COMPLETE  ON  4  ENOS  — (Continued) 


BDBDBDB J 

BBDDBBDD 

DBDBDBDB 

BDBDBDBD 


64 


DB 

a  b 

DB 

nr 

BHDC 

BB 

□r 

BBDD 

BB 

m 

BDBD 

B!  1 

ns 

DBDB 

IB 

PS 

□DBA 

II  J 

BB 

DDBB 

II  J 

BD 

BDBD 

BU 

65 


□□BDDDBD 

BDBDBDBD 

□□BDDDBD 

□BDBDBDB 

BDDDBDDD 

6  B  3  ,B 

BDDDBDDD 
CBIjB'JB'  iB 


66 


□□BBDDBB 

□□BBDDBB 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

SBDnBBQD 

BBDQBBDD 

BBDDBBnr 


67 


BDDBBDDB 

□□BBDDBB 

□□BBDDBB 

□□BBDDBB 

□BBDDBBD 

BBDDBBDD 

BBDDBBDD 

BBDDBBDD 

□BBBDBBB 

BDDDBDDD 

BBDBBBDB 

□□BDDDBD 

BDBBBDBB 

□BDDDBDD 

BBBDBBBD 

□□□BDDDB 

BDBBBDBB 

BDDDBDDD 

BBDBBBDB 

□□□BDDDB 

□BBBDBBB 

□BDDDBDD 

BBBDBBBD 

□□BDDDBD 

BDBDBDBD 

□BDBDBDB 

BBBDBBBD 

□BDBDBDB 

BDBDBDBD 

□BDBDBDB 

BBBDBBBD 

□BDBDBDB 

68 

69 

70 

71 

□□BBDDBB 
BDDBBDDB 
□BBDDBBD 
□□BBDDBB 
BBDDBBDD 
□  BBDDBB!  : 
BDDBBDDB 
BBDDBBDD 


72 


□□BBDDBB 

□□BBDDBB 

□BDDDBDQ 

BDDDBaDa 


□□□BDDDB 

□□BDDDBD 

BBDDBBDD 

BBDDBBDD 

□□□BDDDB 

□□BDDDBD 

□BDDDBDD 

BDDDBDDD 


73 


□□□BDDDB 

□□BDDDBD 

□□□BDDDB 

□□BDDDBD 


□BDDDBDD 

□□BDDDBD 

□BDDDBDD 

BDDDBDDD 

□BDDDBDD 

BDDDBDDD 

□□□BDDDB 

BDDDBDDD 


74 


□□BDDDBD 

□□BDDDBD 

DDDBBDD- 

□BDDDBDD 


□BDDDBDD 

□□BBDDBB 

BDDDBDDD 

BDDDBDDD 

□BBDDBBD 

□DDBDDDD 
DDDBDDDl 
BBDI  IBBDD 


75 


□□□BDDDB 

BDDBBDDB 

BBDBBBDB 

□□BDDDBD 


□□BBDDBB 

BDBBBDBB 

□BDDDBDD 

□HHDDHBD 

□BBBDBBB 

BDDDBDDD 

BBDDBBDD 

esa  i«aa 


76 


□BBDDBBD 

□□BDDDBD 

BBDBBBDB 

BBDDBBDD 


□BDDDBDD 

BDBBBDBB 

BDDBBDDBt 

BDDDBDDD 

□BBBDBBB 

□DBBDDBB 

□□□BDDDB 

iBBBDBBBD 


77 


§70 


GLOSSARY  OF  WEAVES 


7 


WEAVES  COMPLETE  ON  5  ENDS 


■□□□■ 

ORRRO 

■■□DR 

□□□HR 

□□■■■ 

□□ROD 

ROROR 

□ROHR 

■■□□□ 

■■■□□ 

HRORO 

■□□HR 

78 

79 

80 

81 

82 

□  ROOO 

HHHOH 

□OROR 

□ROHR 

□DORR 

□□□□H 

□  RRRH 

□ROOR 

ORHOR 

ORROO 

□□HDD 

RRORR 

□RORO 

ROROR 

ROOOR 

roddd 

RRHRD 

ROORO 

RORRO 

OORRO 

□□□HD 

HOHHH 

HORaa 

HRORO 

■  ■□□□ 

83 

84 

85 

86 

87 

ORRRO 

□□□OR 

ROOOR 

ROOOR 

□□□OR 

ROOOR 

ORRRO 

□□□HO 

□□□HR 

ROOOR 

□□□HO 

□□□HR 

ORRRO 

OOROO 

OORRO 

□ORRR 

ROOOR 

ROOOR 

OOROO 

OORRO 

RHOOR 

ORHHO 

ORRRO 

□ROOD 

ORROO 

ORRRO 

ORRRO 

ROOOR 

□ROOD 

ORROO 

ROORH 

ORRRO 

ORRRO 

ROOOO 

RROOD 

RRROO 

ROOOR 

ROOOR 

ROOOO 

HROOO 

88 

89 

90 

91 

92 

□□□HR 

□ROOR 

□ROOR 

□  ROOR 

□□□OR 

ROOOR 

□ROOR 

ROOOR 

RROOR 

ROOOR 

OORRO 

ROORO 

ROORO 

ROORO 

□□□HO 

□□□HR 

ROORO 

□□□HR 

ROORR 

□□OR® 

ORROO 

□OROR 

□OROR 

□OROR 

OOROO 

OORRO 

□OROR 

OORRO 

□ORRR 

OORRO 

RROOO 

□RORO 

□RORO 

□RORO 

□ROOD 

ORROO 

□RORO 

ORROO 

ORRRO 

ORROO 

ROOOR 

ROROO 

ROROO 

ROROO 

ROOOO 

RROOO 

ROROO 

RROOO 

RRROO 

RROOO 

93 

94 

95 

96 

97 

□□□OR 

□□□OR 

□ROOR 

ORROR 

OORRO 

RROOO 

□ROOR 

□OROR 

□□□OR 

ORROO 

□□□HO 

□□□HO 

ROORO 

HRORO 

HROOO 

ROOOR 

ROORO 

□RORO 

□  □□HO 

ROOOR 

OOROO 

OOROO 

□OROR 

ROROR 

□□ORB 

□OORR 

□OROR 

ROROO 

OOROO 

BJOOOB 

□ROOD 

□  ROOO 

□  RORO 

□RORO 

HROOO 

OORRO 

□RORO 

□ROOR 

□ROOO 

ORROO 

ROOOO 

ROOOO 

ROROO 

RORRO 

OORRO 

ORROO 

ROROO 

ROORO 

ROOOO 

OOOHB 

98 

99 

100 

101 

102 

8 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  5  ENDS— (Continued) 


BDDDB 

DDDBB 

DBDBD 

□  BDDB 

□DBDB 

DDDDB 

BBUDD 

BDDDB 

DDBBB 

□□□BB 

DDBBD 

BDBDD 

BDDBD 

DBDBD 

DDDBD 

□□□BE 

ebbed 

BDDDB 

DDDBB 

DBBBD 

□  □□HB 

□□□■□ 

DDBBD 

DBBDD 

□  BDDB 

BBDBB 

DDBDB 

BDBDD 

□DBDD 

□  ■HDD 

□aeon 

□□□BB 

DDBBD 

BBBDD 

BDDDS 

□BBBB 

DBBDD 

BBDDD 

BDDBD 

■  □□□■ 

□□□□B 

DBDBO 

DBDDB 

DBDDO 

SIRDB 

DDBBD 

DBBDD 

BBDDB 

□□Ban 

□□bdd 

BBDDD 

BDDDB 

DDBDB 

■anna 

BDBHB 

BDBDD 

BDDBD 

BDDDO 

BDDDD 

DBBDD 

BBDDD 

BDDBB 

103 

104 

105 

100 

107 

108 


109 


110 


111 


DDDBB 

BDBDD 

DDDDB 

DBBDD 

BBDDB 

BDDBB 

BDDDD 

BDDBD 

DBBDD 

DDDDB 

DDBDB 

DDBDD 

DDBBD 

DBDBD 

DDDBD 

DDSDBS 

BDDBB 

BBDDD 

BBBDD 

DDBBB 

BDDBB 

DDDDB 

DDDDB 

DBDDB 

BBDDD 

□DDDH 

BBDDD 

DDDBD 

BDDBD 

DBDDD 

DBDBD 

DDBBB 

DBBDD 

DDBDB 

□DBDD 

□DBEH 

DDDBD 

BDDDB 

DBBBD 

DBBBD 

DDDBD 

BDDDB 

DDDBD 

BDBDD 

BDDDB 

BDBDD 

DBBBD 

DDBDD 

DBDDB 

BDDDD 

DBSiD 

DDBDD 

BBDDD 

BDDBD 

DBDDD 

DDBDD 

DODBB 

□□□SB 

DDBBB 

BBBDD 

DBDDB 

BBBDD 

DDBDD 

DBDBD 

DDDBB 

iiBDD 

DBDDD 

DBDDD 

BDBDD 

DDDDB 

DBDDD 

DDBBD 

BDDDB 

DBDDB 

BDDDD 

BDDBD 

BBDDB 

DDBBD 

BDDBB 

BBDDB 

BBDD0 

BDDDD 

DBDDD 

DDBDB 

DDBBD 

BDDDD 

DBBDD 

BDDDD 

DBDBD 

DDDBD 

112 


□□□BB 

□□□BB 

□BDDB 

DDDBB 

DDDBB 

DDBBD 

BDDDD 

□  BDDB 

DDDDB 

DBDDD 

BDBDD 

DBBDD 

DDBBD 

DDBBD 

BDDBD 

DDBBD 

DDBBD 

DBBDD 

DDDDB 

BDDBD 

DDDBD 

BDDDD 

□  BDDB 

BBDDD 

DBBDD 

DBBDD 

DDBDB 

DBBDD 

DBBDD 

BBDDD 

DDDBD 

DDBDB 

□DBDD 

DDDDB 

BDDBD 

BDDDB 

BBDDD 

BBDDD 

DBDBD 

BBDDD 

BBDDD 

BDDDB 

□DBDD 

DBDBD 

DBDDD 

DDDBD 

DDBDB 

DDDBB 

BDDDB 

BDDDB 

BDBDD 

BDDDB 

BDDDB 

DDDBB 

DBDDD 

BDBDD 

BDDDD 

□DBDD 

DBDBD 

DDBBD 

113  114  115 


70 


GLOSSARY  OF  WEAVES 


9 


WEAVES  COMPLETE  ON  6  ENDS 


□□□□□■ 

□□□□■□ 

□■□□CO 

■□□□□□ 

■□□□■■ 

□□□■■a 

□□■■■□ 

□■■■□□ 

■■■□□□ 

■□□□■□ 

□□□ana 

□□■□■□ 

□■□■□□ 

■□anno 

□■□□□a 

□□□■■a 

□□□■■a 

□■■■□□ 

■■■□□□ 

■■■□□□ 

■□□□■a 

□□□□■a 

□□□□■a 

□□■■□□ 

□□■■□□ 

■■□□□□ 

■■□□□□ 

116 

117 

118 

119 

120 

□■□■■a 

■■■□■□ 

■□□□□■ 

□■■□□□ 

■□□□□■ 

□■■□□□ 

□■■□□□ 

□□□■■□ 

■□□□□a 

□■■□□□ 

□□□aan 

■□□□□a 

□□□□■□ 

□□□□□a 

□□■□□□ 

□□□■□□ 

■□□□□□ 

□■□□□□ 

□□■□□a 

□□□□■a 

□■□□an 

■■□□□□ 

■□□■□□ 

□□■■□□ 

121 

122 

123 

124 

125 

□□■□■■ 

■■□■□□ 

□□□□■a 

□□■■□□ 

■■□□□□ 

□□□■■□ 

■□□□□a 

□■■□□□ 

□□□□□a 

□□□■□□ 

■□□□□□ 

□□■□□□ 

□□□□■□ 

□■□□□□ 

□□□■■a 

□□□■aa 

□□□■■a 

■■■□□□ 

■■■□□□ 

■■■□□□ 

■■■□□□ 

■■□□□□ 

■□■□□□ 

□□□■■a 

□□□■■□ 

□□□■□a 

126 

127 

128 

129 

130 

□□□■■■ 

□■□■□■ 

■■■□□□ 

■□■□■□ 

■■■□□□ 

§■»□□□ 

■□□■■□ 

■■■□□□ 

□□□■■a 

□■■□□a 

□□□IBB 

□□□■aa 

□□□■■a 

□■□■□a 

■■■□□□ 

■■■□□□ 

■□■□■□ 

■□□□□a 

■■□□■a 

■□□□□a 

□□■■□□ 

□■■■■□ 

□□■■□□ 

■□■□■□ 

□□□■■a 

■□■□■□ 

□■□■□a 
■■■□□□ 
□a □■□■ 

131 

132 

133 

134 

135 

■■■□□□ 

■□□■□a 

■□■□□□ 

■■■□■□ 

■■□■□□ 

□□■■□□ 

□□■■■□ 

a  ]□□■■ 

■□□□an 

□■□□■a 

«■■□■□ 

«□■□□□ 

□■□□□a 

■■□□■□ 

□■□■■a 

□□□■□a 

□□■□■a 

□□■am 

□■asm 

■■□□□■ 

□□□■■a 

■□■□□a 

□□□■□a 

□■□■■a 

136 

137 

138 

139 

□□□■iH 

□■■■■□ 

■□■■□a 

■□□■■□ 

aaamo 

amma 

□■□□■□ 

□□□a  j 

□□□■■a 

□■■■■□ 

■□■■□a 

■■□a:  ,□ 

■aamn 

■□□□□a 

■□■■□a 

□□■□SB 

□□□■as 

□asaan 

□■□□■□ 

mama 

■■■□□□ 

amma 

■□■■□a 

□■■□□a 

141  142 


140 


143 


10 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  OX  G  ENDS— (Continued) 


BBDBBB 

DDDBDB 

DBDDDB 

DDDDBB 

BBDDDB 

DBDDBB 

DDBDBD 

DDBBDD 

aannaa 

DDDBDB 

DDBDBO 

DDBDBD 

DDDBBD 

bbhddd 

BDBDDD 

BDDBBD 

BDDBDD 

DBBDDD 

DDDBBB 

BDDDBB 

DBDBDD 

DBDDDB 

DDBBDD 

bdddbb 

BBBDBB 

DDBBDB 

BDDBDD 

BBDDDD 

BBDDDB 

BBDBBB 

BDBDDD 

DDBDBD 

DBBDDD 

BBBDDn 

BBDDDB 

DBBI  JBD 

DDBDBD 

BDDDDB 

□□□BBB 

DDDBDB 

DBDDDB 

DBDDDB 

BBDDDD 

0QDDBB 

BDBDDD 

BHDHOD 

BDDBDD 

DDDDBB 

BBDDDB 

BDDDBB 

BDDDBD 

DDBDBD 

BDDDDB 

BBBDDD 

BBBDBB 

BDBDDB 

BDDBDD 

DDDBB 

144 

145 

146 

147 

148 

DDDBBB 

DDDDDB 

BBDBDD 

DBDDDB 

DBDBDB 

DDBDDD 

DDBBDB 

BDBDDD 

DBDDBD 

DBDDBB 

DDflBBD 

DDDDBD 

DBBDBD 

DBDBDD 

BDBDBD 

□BDDDD 

DBBDBD 

DBDBDD 

BDBDDD 

BDDBBD 

DBBBDD 

DDDBDD 

DDBBDB 

BDBDDB 

DBDBDB 

BDDDDD 

SSDBDD 

DDBDBD 

BDBDBD 

DDBBDB 

BBBDDD 

DDBDDD 

BDDBBD 

DBDBDB 

BDBDBD 

□□DDDH 

BDBDDB 

DDDBDB 

BDDBDB 

DBBDBD 

BBDDDB 

DBDDDD 

DBDDBB 

DDDBDB 

DBDBDB 

DDDDBD 

DBDD®S 

BDDDBD 

DDBDBD 

BBDBDD 

HDDDHB 

BDDDDD 

BDBDDB 

DBDDBD 

BDBDBD 

DDDBDD 

BDDBBD 

DBDDDB 

BDDDBD 

BDBDDB 

149 

150 

151 

152 

153 

DBDDBB 

DDDBBB 

BBDDBD 

OBBBOD 

DDDBDB 

DBDBDB 

BDDBBD 

DIB9DB 

BBDBBD 

DBDDDB 

BDDBBD 

DBDBDD 

BDBBBD 

BDDDBD 

DDBDBD 

BDBDBD 

DDBDBD 

DBDDBB 

DBDDDB 

BDDDBD 

DDBBDB 

DBBDDH 

BDSSBDB 

DBBDBB 

DBDBDD 

DBDBDB 

BBBDDD 

BDBBDB 

DDBBBD 

DDDBDB 

DBBDBD 

□□□IBB 

BBDDBD 

BBDDDB 

BDBDDD 

BDBDBD 

DDSDBB 

DSBBDB 

DBBDBB 

DDBDBD 

ESSDHDD 

DBDDDB 

BDBBBD 

DDBDBD 

DBDDDB 

DBDBDB 

BDDDBD 

DBDDBB 

DBDBDD 

DBDBDD 

BDBDDB 

BBDBDD 

BDflBDfl 

BBDBBD 

BDDDBD 

BDBDBD 

BBBDDD 

BDBBDB 

BDDDBB 

BDBDDD 

154 

155 

156 

157 

158 

BDDnBD 

BDBDDD 

DBDDDD 

DBDDBD 

BBDDBD 

HDDBDD 

WDBBDB 

DDDDDB 

BDBDBD 

BBDBDD 

BDBDDD 

BDBDDD 

DDDBBD 

DBDDBD 

DDDBDB 

DBDDDB 

DBDBDD 

DBBDDD 

DDESDDB 

DBBDDB 

l  JBODBD 

SHDKiD 

BDDDDD 

DBDBDB 

DBBDBD 

DBDBDD 

DBDBDD 

DDDDBB 

DDBDDB 

BDDDBD 

BDBDDD 

DDBDBD 

DDBBDD 

BDDBDD 

BDBBDD 

DDBDDB 

DBBDii 

DffiODDD 

BDBDBD 

DDBBDB 

DDBDBD 

DDBDBD 

BDDDDB 

BDDBDD 

DBDDDB 

DBDBDD 

DDDBDH 

DDDBBD 

DBDDBD 

DBDBBD 

BDDBDD 

HDBBDB 

DDBDDD 

DBDBDB 

BDDBBD 

DDDBDB 

DDDBDffl 

^EEDDDD 

DBDDBD 

BDBDDD 

DDBDBD 

BDDI  IBD 

DDDDOSS 

DDBDDB 

DDHDBB 

DBDDBD 

BHniSHD 

DDDBDD 

BDBDBD 

DBDDBB 

BDDDBD 

BDDI  IBD 

DBBDDD 

DDBDDB 

DBDBDD 

DDDBDB 

DBDDDB 

B!  OD(  l® 

BDDBDD 

DDDBDB 

DDBDDB 

DBBDBB 

DDDDBD 

I  BBB 

BDBDDB 

DBDDDB 

DBDDDB 

DDBBDD 

HDDBDD 

DDBDBD 

159 

160 

161 

162 

163 

70 


GLOSSARY  OF  WEAVES 


11 


□□□□□□■ 

□□■□□□□ 

□□□□□■□ 

□■□□□□□ 

□□□□■□□ 

■□□□□□□ 


164 


169 


■■□□□□□ 

□□□□■■□ 

□■■□□□□ 


□□□□□■■ 

■□□□□□■ 


174 


□■■□□■a 

□□□□aan 

annnnna 

aannaan 

□□□BBOD 


□□□□□BB 

BODBBLJB 

□□Bacon 

□□□□BBD 

nDBBDBB 

□BBDDDD 

□nnaann 

□BBDBjBD 

BBDDDDn 

□□BBDDD 

BBDBBDD 

annnnna 

□Banana 

BDBBaaa 

□□□□□BB 

BBaaaaa 


179 


WEAVES  COMPLETE  ON  7  ENOS 


annnaan 

□□BBDBD 

BBDBDnn 

□BDDOBB 

□□□BBGB 

□Banana 

anaanaa 

annannn 

annnann 

□annann 

nannnan 

□□annan 

□□annna 

□□□anna 

□nnanan 

anannnn 

□□□□ana 

□anannn 

annnnan 

□nanann 

□annnna 

naannaa 

annnaan 

□nnaana 

□naanan 

□aanann 

aanannn 

anannna 

165 

ananann 

nnanana 

nananan 

annanan 

nnanana 

□annana 

166 

annanan 

□BBannn 

nannana 

□□Baann 

anannan 

□□□aaan 

167 

aannnan 

aanannn 

□nanaan 

annnaan 

naannaa 

□aanann 

168 

aannnan 

annannn 

□Banana 

□annann 

anaanaa 

□□annan 

annanan 

anannan 

nannana 

nananna 

anannan 

ananann 

nananna 

nananan 

□ananna 

□□□□BBB 

ananann 

anannaa 

nananan 

aannnna 

nnanana 

Baannan 

□nnanaa 

nannaa® 

anaannn 

□naanan 

annnana 

anannna 

□anaann 

□nnaana 

□anaann 

□□□anna 

□nanaan 

annnann 

□nnanaa 

nannnan 

aronana 

□□annna 

170 

aannann 

annanan 

□aannan 

nannana 

nnaanna 

nDannan 

171 

aanannn 

anannnn 

annnaan 

□□□□ana 

□aanann 

□anannn 

172 

annannn 

□aannnn 

annnann 

□□□□□BB 

□annann 

□□aannn 

173 

aanaanfi 

□nnanan 

aannaan 

anannnn 

□aanaan 

□□□□ana 

annaann 

nananna 

□annaan 

aannann 

□nannaa 

nannnan 

annanna 

□nannLB 

naannaa 

annnnan 

□naanan 

□nanann 

anannna 

□annnna 

□□□aana 

□nnanan 

nannnan 

annnnna 

□□annan 

□nnaann 

□nancna 

aacnnnn 

□□□anna 

□□□naan 

naannaa 

□anannn 

□naanaa 

annnnan 

anaanna 

□nanann 

annaana 

□annnna 

175 

□□□anna 

anannnn 

□nnaana 

□□annan 

□annnna 

176 

anannan 

□□aaann 

annnann 

nananna 

□□□aaan 

177 

□annnaa 

□nannnn 

□nnaana 

annnaan 

□annnnn 

178 

annnnan 

□nnaann 

annaann 

□annnna 

□□□naan 

□ananann 

□annanan 

annnanna 

□ananana 

nnananan 

□nannana 

anannnnn 

nannnan 

ananann 

□□□□BBB 

□□annna 

nananan 

annnaaa 

annannn 

□□Bnana 

□naanan 

□nnaana 

annnnnn 

□aanann 

□naanan 

□□□□□□a 

aanannn 

□aanann 

□annaan 

anannnn 

□nnnnaa 

□nannaa 

□anannn 

annnnna 

annanna 

□nanann 

□annannn 

anananna 

□nnanana 

annnnnan 

□anannnn 

□nananan 

□ananana 

aannnna 

□annann 

annanan 

aaannnn 

□□annan 

nannana 

□Baanna 

□□□anna 

□□□□□an 

anannna 

aanannn 

□nnnann 

naannaa 

anannna 

□nnanan 

annnaan 

aannnnn 

aannann 

□nnanan 

□aannnn 

1  naannan 
□□□□ana 
□□aannn 
□□Banna 

180  181 


182 


183 


12 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  8  ENDS 


■■■□□□□a 

■■□□□□■a 

BDULOBBa 

□□□□BBBB 

□□□BBBBD 

□□BBBBQD 

□BBBBDDD 

BBBBGDDD 

□□□□BBBB 

□□□□BBBB 

□□□□BBBB 

□□□□BBBB 

BBBannnn 

BBaanmn 

bbbbdddd 

BBsaDonn 

□□□□□BDD 

□□■□□□□□ 

□□□□□□□B 

□□□□Bonn 

□BaannoD 

□□□□□□BO 

□□□annnn 

anananan 

□DBnuBDD 

□□Banana 

□□□□anna 

□bddbddd 

□aaDanaa 

□□□annan 

Bnaannaa 

BoanaBaD 

184 

185 

186 

187 

BBDDBDDB 
□BDDBBBD 
□  BBB_"JBO 

BDDBDDBB 

BQDBBBnn 

BBBDDBDD 

□□BDDBBB 

□□BBBDJB 

□□□BBQBB 
BB  BB 

□  BBLlBBJU 

■□□□BBQB 

B  BB  ]  B 

□□aanaan 

BBnnnaan 

BBnBBQnn 

bbdbdddb 

BDBnanBB 

□BnnnBBB 

BunaBsan 

nnuBBBjB 

□□Baanan 

□Baanann 

BBBQBma 

BaaaaBBa 

LBLjDBB  B 
□CBnanaa 

□  jDBGIBBB 
BBBijBnaa 

BBGBaBaa 

B'jBBDnBG 

□BBBaaaB 

188 

189 

190 

191 

□□Banana 

□□Bnanna 

□annanas 

□aananaa 

□anannaa 

annannaa 

annanam 

anannano 

BnBBBBQB 
B  BB  MSB 
BBBBQBBQ 
BBQBBBBQ 
BB  BB  BB 
□BBBBDBB 
BB  BBBB 
BBBQBBQB 

BBBanBDD 
a  ]  BEB 
annannaa 

□BBannan 

□Bnnaaan 

BBonanna 

□□BBBnna 

□nannaaB 

□□BBBDBB 

□BBBDOBB 

BBB_BBGC 

BBGnBBQB 

BaBBania 

□□BBGBBB 

■annaBBa 

BBnBBBDD 

192 

193 

194 

195 

aaBBaaan 
□□BOBBED 
BBanni  B  i 
aannanaa 
aanannuE 
□ananaaB 
□Baanann 
□□□sheds 

BBBnnnan 

Bnananaa 

BDBBannn 

□  □BnBBBiJ 

□Baanann 

□□□BBBGB 

ssBnannnB 

□HDDnBBB 

□Baannan 

BBBnnBna 

□□BBBnna 
□□BanBBB 
□  B  BBS 

Bannanna 
annannaa 

bbbdbddd 

BBBDBQDD 

BBaaaaaa 

□□□BDBBB 

BBsaBaaa 

□□□BCBBB 

□□□BDBBB 

196 

197 

198 

199 

Bnnaaana 

□■■□□bid 

□bbddbbd 

annamna 

anaanana 

BB  II  BQ 

□aannaan 

annaanna 

BDDBBBnD 

BBDDBBnn 

BBBaanaa 

□EBannnB 

BomBBan 

nannniBHB 

□□aannaa 

□□BBBinna 

BBDBBBDB 
B  BBS 

□nannaaB 

BnannnBB 

BBnBBBnB 

BBBnanan 

□BBannan 

□□Baanan 

BaBBBnaa 

□□BBnBBa 

bbebbb: 

BBBBanna 

aGiG'DBBBB 

□BBBBBB 

□BBGBBQa 

□□□BBBOB 

200 

201 

202 

203 

§70 


GLOSSARY  OF  WEAVES 


13 


WEAVES  COMPLETE  ON  8  ENOS  — (Continued) 


BDBBDBBD 

□■■□■■□a 

bbdbbdbd 

BDBBGBDB 

□BBDBDBB 


204 


BDBBGDBD 
□B jJBBGB 
BDBDBBDD 
□BDBDDBB 
□□BDBDBB 
BBDBDBDD 
BBDDBDBD 

□dbbdbdb 


208 


BDBBDDDB 

BBDBBDDD 

□BBDGBBD 

B'jGGBBGB 

□□□BBDBB 

□CBSDBBD 

BBGQBBDn 

□bbdddbb 


212 


BDBDBBDD 

GBDBB1DG 

■□■□□□BB 

□BGBGOBB 

BBGGBGBG 

BBDDDBDB 

□  GBBB'jBn 

EB1DBDB 


216 


BDBBDDDB 

BBGBQBGD 

□BDDBBDB 

□□□BBDBB 

□□BBG1BBG 

BDBDBBDQ 

BBGGIGBG 

□aagaaBB 


220 


bbdddbdd 

BBDDBDDD 

□□BBQDDB 

□DBBDDBD 

□BDDBBDD 

bdddbbdc 

□□□BDDBB 

□□BaaoBB 


205 


BaaaaBDB 

□aaaaaBB 

aaaBGBBa 

□□aaBBaa 

□BQBBaBa 

BaBaaBaa 

□BBDBDDB 

BBDBDDBD 


209 


bdddbdbb 

□■□□□BBB 

BGBiaaaBa 

□BQBBQDB 

BDBBBDDD 

□BBBDBDD 

□BBUBGBD 

bddbdbdb 


213 


□BBaaaBB 

bdbddbdd 

BBQBBaaa 

□□BDBDDB 

□□BBDBBD 

dbddbdbd 

BanQBBDB 

bddbddbd 


217 


□□BDBBBD 

□BBBDBBB 

BBBDDDBD 

dbdddbdd 

BaaDBBBD 

BBDBSBGB 

bbbdbddd 

dbdddbdd 


221 


BDBDBBBB 

□□BaaDBD 

BuBGBBBB 

BDDDBDDD 

BBBBBDBD 

□□BaaDBD 

BBBBBDBD 

BaaaBaaa 


206 


□BBaaaBa 

BBBGBDDD 

BBDDDBDB 

BaaBDDBB 

□DBBBDDB 

□BaiflBDD 

■□□□BBBD 

□□BDDBBB 


210 


DBDDBDBD 

BDDDDDBB 

□DDBBBDD 

□□BDDBDB 

□■■□□■□a 

BQBBBDDD 

BBDBDDDB 

□BBaaaBD 


214 


□BDDDDBD 

BDBDDBDB 

□BDBBDBa 

□□Banana 

□□BDDBDD 

□BDBBDBD 

BDBDDBDB 

□BaaaaBD 


218 


□□BBDBBD 

□BBDDDBB 

BDBBDDDB 

□□□BBDBB 

□BBrjBBDD 

BBDDDBBD 

BDDDBBDB 

BBDBBDIGD 


222 


BBB 

□BBBD 

1  IBB 

BDDDB 

BI'IB 

BDDDB 

BB 

BDDDB 

BBB 

□BBBD 

nnr 

BDBBB 

1 II II 

BBDBB 

□□□ 

BBBDB 

207 


□DDDBBDB 

bddddbbd 

□BBDBDDa 

BBDBDDDD 

BDBDDDDB 

DBDDDDBB 

□DBBDBDD 

□□□BBaaa 


211 


bdbdbbdd 

□□BBBDBD 

BBaaaiDB 

DBDBDDBH 

BBDDBDBG 

BDBDDDBI 

□BDBBBDD 

□DBBDBDB 


215 


□BDBDBDB 

BDBDBDBB 

□BDBDBaB 

BBB  fl  B 

□BDBDBDB 

BDBDBBBD 

□BDBDBDB 

BDBBBDBD 


219 


□BBDBDDB 

□BBDBDDB 

BDBDDBDB 

BDBDDBDB 

BDDBaBBD 

BDDBDBBD 

□BDBBDBD 

□BDBBDBD 


223 


14 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  8  ENDS— (Coni  inued) 


■  H 

BBQDi  JBBD 

□BBDBBQD 

i  BB  iTjliBB 

BQBBQDQB 

□□■■■□■■ 
BBBBBB 
KBBQBBQB 
■□■■□(  BB 
■  BB  BB 

■BBUBBUB 
BBDBBBBG 

■□!_!□■■□■ 

■  ■■  ■ 

□□■■□□□■ 

224 

225 

226 

227 

□bbbgbcd 
■■■□■□□□ 
■■□□■■□B 
■□□□■■■□ 
□■■■□□□■ 
B  BB  BB 
□□□■□BIB 

□■■■■□□■ 

□■■■■□■□ 

■□■■□■□□ 

■□■■□□■□ 

■□□□■■■□ 

□□■■□■□■ 

□□□■■■■□ 

228 

229 

230 

231 

□□■□□BBB 

1  B  JBBBU 
□■□■■□□■ 
B  J .  B  B  a 
■■■□□■□□ 
□■■■□□■□ 
■□□■■□■□ 
B  iBUBUl  B 

□■□EBBQB 

■□■□■□■□ 

■■□■□■□■ 

■□■□■□■□ 

□  ■□■'“■BB 

■  BB  <■■<_' 

□■■□□□□a 

232 

233 

234 

235 

□□□■□BBB 

■■■□■□GO 

□■□■■■□□ 

■■□□□■□■ 

■■■■□□■□ 
□  ■_>■■■■□ 

□■■■■□□■ 

□□■□■■■■ 

■□■■■■□□ 

■■■ 

236 


237 


238 


■  B  ■  B 

□■□■□□□■ 

■□■□□■■□ 

□■□□□■□B 

■  UUBUBLJU 
□□■□□□■□ 
□■□□□□□■ 

□■□□■□□a 

■□□□□□■■ 

■■□□□□□■ 

■■■□□□□□ 

□■■■□□□□ 

■□■■□□□■ 

□□□■□BOB 

□□■■■□□□ 

■  B  BB 

a  & 

■  '  )■□■□■□ 

■□□□□□■□ 

□□□■■■□□ 

■■□□□■■□ 

■□□■□( 

4 

□□□□□■■■ 

240 


241 


242 


239 


§70 


GLOSSARY  OF  WEAVES 


15 


WEAVES  COMPLETE  ON  S  ENDS 


243 


□□□□□■■■ 


■■■□□□□□ 

■■□□□□□■ 

■□□□□□■■ 


247 


■□■□□□□□ 

□■□□□□□■ 

■□□□□□■□ 

□□□□□■□■ 


□■■□□□□a 


244 


■□□□□□■□ 

□■□□□□□■ 

■□■□□□□□ 


□□□□□■□a 

■□□□□□■□ 

□■□□□□□a 

■□■□□□□□ 

□□□□□ana 


248 


aaaaaaaa 

□□□BBCOB 

□BDDDBDD 

BDDDBBDD 

□□BDDDBQ 

□BDDDBBD 

□□□Banna 

□□apmaa 


aaaaaaaa 

aanaanna 

□annDaan 

aaaaaaaa 

□aaaaaaa 

□aaaaaaa 

□□□Banna 

□□aamao 


245 


□□□BBBBB 

aaDBanaa 

□□B'ZiBBBB 

□□BBUDBB 

□aaaBBBB 

□BBDDBBD 

aannaaBB 

aagnaann 


BBBBama 

■□□aaaaa 

fliaa  a 

□□BBDDBB 

aaBBaam 

□Baaaaaa 

aaflaanm 

■iLipaam 


249 


WEAVES  COMPLETE  ON  10 


□□aaaaaa  aa 

□BDOBagp  aa 


□□ 

□a 

an 

aa 

□a 

□a 

an 

□□ 


□BDDDDBB 

BaBBDBDB 

□BJBBDBD 

□BBB:JB  JlJ 

□□BDBBBD 

□anaanaa 

BJBQBBliB 

BBaaaaaa 


□□ananaa 

BBaaaaaa 


□■■□□BOB 

aaaaaaaa 

Baaaaaaa 

□□□□BBBD 

□BBBaDDD 

aaaaaaaa 

□□aamna 

aaaaaaaa 


ia 

B 

!□ 

jB 

!□ 

ID 


(Continued) 


aaaaaaaa 

□aaaaaBB 

□BHaaaaa 

aaaaaaaa 

□□aaaaaB 

aaaaaaaa 

aaaaaaaa 

□BBaaaaa 


DBaaaaaa 

□□Baaaaa 

□aaaaBBa 

□□□aaaaa 

□□□aaaaa 

aaaaaaaa 

aaaaaaaa 

□agaaBaa 


246 


□Baaaaaa 

aaaaaaaa 

aaaaaaaa 

□aaaaaaa 

aaaaaaaa 

aaaaaaaa 

□aaaaaaa 

□□agaaga 


aaaaaaaa 

□aaaaaaa 

□□aaaaaa 

aaaaaaaa 

□aaBBaaa 

□Baaaaaa 

aaaaaaaa 

BBaaaaaa 


250 


ENDS 


□□□aaaaa  aa 

BBaaaaaa  aa 


□Baaaaaa  □□ 

aaaaaaaa  bb 

□Baaaaaa  aa 

aaaaaaaa  aa 

□aaaaaaa  aa 

□□aaaBaa  bb 

□aaaaaaa  aa 

aaBBaaBB  □□ 


251 


252 


253 


16 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  OX  10  ENDS 


□□□BBGGG 

□□BGGBBG 

BB 

aa 

aaaaBBaa 

BGGBBGBG 

BB 

GB 

BBGGGBBG 

□□ 

BGBBGBGB 

nn 

aa  a  a 

EG 

GBBQBBGG 

BG 

□□BBGGGB 

aa 

GB(  BB  B 

MB 

BGBBGGBG 

GB 

BGBBGGBB 

nn 

BGGGBBGG 

GB 

GBBGGBGB 

B!  1 

□BBGBBGG 

■G 

GBGGBGBG 

BB 

□BHGGGBB 

aa 

BGGHGQBB 

(IB 

BGGBBGBB 

aa 

BGBGGBGB 

BG 

254 

255 

BBaaaaaa 

BG 

BGBflGGflG 

aa 

GBOGBaaa 

BB 

aaaaaaaa 

GB 

BGBBGGGB 

aa 

BGDDBDBB 

nn 

BBGBGGBG 

aa 

GBGBBaaB 

i  ii  i 

GGBGBBGG 

GB 

BBaaaaaa 

a  i 

aaBBGBaa 

BD 

aBaaaaaa 

B!  1 

□BUGBGBB 

aa 

aaaaBBaa 

■  1  1 

BGGGBBGB 

aa 

aBBGGBaa 

1  IB 

aaaBaaBG 

SB 

aaaoaaa. 

BB 

GGBGGGBB 

GB 

aaaaaBaa 

UB 

257 

258 

aaBGBanH 

GB 

BBGBBGBB 

BO 

aaaBGHBa 

sn  . 

GBBBGBB J 

BB 

GBGGBGGB 

aa 

BfjBaaaBB 

nB 

BGGGBGGB 

aa 

BBOGBaafl 

an 

GGGBGBBG 

aa 

aaaaaaBa 

BB 

aaBGBaaB 

GB 

BGBBGBBB 

1  IB 

BBGBGGGG 

BG 

BBBGBBGB 

Bl  1 

GGBGGGBG 

GB 

GBGBBGBB 

1  II  1 

aaBGGBaa 

GB 

aaBBGBBG 

1  IB 

■HGHGGGG 

ma 

BB  BB  B 

UU 

260 

261 

BBaaaaaa 

BB 

■BGBBGBG 

sa 

GBBSBBGG 

aa 

BisaasaE 

UU 

aaaaaaBB 

BB 

GBBGBaBa 

BB 

BBBBaaaa 

GB 

Baaaaaaa 

BB 

GGBaBBBB 

aa 

BGBGBGBB 

1  IB 

BBaaaaaa 

BB 

GBGBaaBB 

Bl  1 

BGBBBBOG 

aa 

BGBGBBGB 

BE  1 

aaaaaEBH 

sm 

GBaaBBBG 

1  IB 

BBBBaaaa 

aa 

BGBBGBBa 

Bl  1 

aaasBBBB 

aa 

aaBBBGGB 

UB 

263 

264 

flGBBBBaa 

GB 

“HI  :BSB 

nB 

Baaaaaaa 

aa 

■aiDBaBB 

BU 

BBGaaBBG 

BB 

□BGBBBna 

SB 

aaaaaaaa 

GB 

aaHBBGBa 

HB 

I  IBBGBBBH 

aa 

aBHBGBGB 

1  IB 

aaaaaBat:i 

GB 

flBBGBaBG 

Bl  1 

BBBBaaaa 

aa 

BBGBGBGB 

1  IB 

aaaaaaaa 

sa 

BGRjBBaBG 

aaaBBGBB 

BB 

GBGBBBGB 

HB 

aaaaaaaH 

aa 

BasaaBBG 

BG 

(Continued) 

OB 


■■□□□■■□□a 

■■ 

□□ 

□□ 

□□□■■□□a  ■■ 


256 


OB 

□□ 


■■ 

■■ 

□□ 

■□□■■■□a 

■■□□■□■a 


259 


aaagcaHa 


□□ 

■■ 

□□ 

■■ 


262 


□■□C'TiB  "■  UB 


■  □□ 

■  □□ 


265 


□■■□□■□a  aa 

ejgbbgbg  ma 


a  '  m  a  a  oh 

aa  a  a  aa 

□  B  jBZB'IB  ho 

BDBDBDBD  OH 

□  B'JBOBBD  GB 

BDBDBDaB  BD 

□  BDBBDDB  GB 
BDBGGBBD  BG 


266 


267 


268 


70  GLOSSARY  OF  WEAVES  17 


WEAVES  COMPLETE  ON  10  ENDS— (Continued) 


BnBBGOBB 

GB 

GBGGGBGB 

BG 

BGGBGGBG 

□□ 

BGGBBGGB 

BB 

GGBGGBBG 

BG 

□BBGBBGG 

□G 

BBGGBBGfl 

BG 

aaaBGBBa 

GB 

□GBGBGGG 

BG 

□BBGGBBH 

BG 

BGGBBGBG 

aa 

□GGBGGGB 

(  IB 

GGBBGBBG 

BB 

GBGBBGGB 

aa 

BGGGGGBB 

r  ib 

BGGBBBBG 

GB 

QBBQBGGG 

BG 

GBGGGBGG 

an 

BBGBBGBB 

GG 

□BBGGBGG 

□B 

BGGGGGBB 

I  IB 

QBBBBGGfl 

BG 

BQBGQQBG 

GB 

□GGBGGGB 

na 

□BBGBBGG 

BB 

BGGBGGGB 

GB 

□GBGBGGG 

a;  i 

BBBGGBBG 

GB 

BGGGBGGB 

BG 

□BBGBBGG 

□□ 

269 

270 

271 

BGBBGBGG 

GB 

GGOBaaGB 

aa 

□BBGBGBG 

BB 

GBBGCBBG 

BB 

BaaaBGBa 

aa 

BGBBGBGB 

BG 

BBGBGGGB 

BG 

GBGBaaaB 

GB 

BBGBBGBB 

nB 

■GGBBGBB 

GB 

GGBOaBGG 

BG 

GB9GBBBG 

BB 

GBGGGBBG 

BB 

BaaaBGBa 

aa 

BGBBGBGB 

BG 

GBBGBBGB 

BG 

aaBaaBoa 

BG 

□BGB9GH 

GB 

GGGBBGBB 

GB 

GBGBaaaB 

GB 

BGBBGBGB! 

an 

BGBBGBBG 

GB 

BaaaBGBa 

aa 

□BBGDB9G 

BB 

GBBGBBGB 

GG 

aaGBQaaB 

aa 

BBGBBGBB 

na 

BBGBBGGB 

BG 

BGBGGBGG 

BG 

BGBBGBGB 

BU 

272 

273 

274 

BGGGGBBO 

BG 

BGBBGGGB 

BG 

BGGGGBGG 

GG 

GBGBBGGG 

GB 

BBGBGBBG 

aa 

□BGGBGBG 

□B 

BGBGGBBG 

BG 

aaaBBGBa 

BB 

GGBBGBGB 

an 

□BGBGGGB 

aa 

GBBGGGBB 

GB 

□GBGBGBG 

B!  1 

BGBGBGBG 

BG 

BGBGBBGG 

GB 

GBGBGBGB 

na 

BGGBQBGG 

BG 

GGBBGBGB 

BG 

BGBGBGBG 

*n 

GBGGBr BG 

GB 

BBGGGBBG 

BG 

GBGBGBGB 

gb 

GBGBGBGB 

GB 

GBGBBGGG 

BB 

□GBGBGBG 

BG 

QGBGGQBQ 

BG 

GBBGBGBB 

aa 

GGBBGBGB 

an 

GBGBBGGB 

GB 

BGGGBBGB 

GB 

□BGGBGBG 

□B 

275  276  277 


BB 

■□■□□□■a  gb 


bbbggbgb 

□GBGBBGB 

□□BBBBDD 

■□□BBBBD 

GBGBBGBB 

□BBBGGBG 

□BGGGBBG 

BBDaBDDD 


□□ 

ma 

□B 

□□ 

□□ 

BG 


278 


BGGBBBGG 
BBBDDBDB  □□ 


□GBGBGGB 

□BGGBBBG 

□BBBGGBG 

BGGBGBGG 

BGBGGBBB 

GGBBBGGB 

BBGGBGBG 

□BDBDDBB 


□B 
BG 
■  B 

□□ 

□B 

□B 


280 


□GBBGBBG  BG 
BBBGGBGG  GB 


BGGGBBBB 

BBGBGGGB 

QQBGBQQB 

GGGBGBBG 

BBBGGGBG 

□BGGBBBB 

BBGBBGGG 

□GBBBGDB 


□G 

BG 


GB 

GG 

BG 

GB 


279 


GBGBGBGB  GB 
GGBGBBBG  BG 


GBGBGBBB 

BBBGGGBG 

BBGBGGGB 

BGBGBGBG 

GBGBGBBB 

BBBGGGBG 

BBGBGGGB 

BGBGBGBG 


GG 

BG 

GB 

BG 

GG 

BG 

GB 

BG 


281 


92—3 


18 


GLOSSARY  OF  WEAVES 


§70 


WEAVES 


□BBB 

□BBQ 

■□□□ 

■□■■ 

□■■□□■■a 

□  □BB 
■  ■□■ 
BBB1  J 

□  ■■□ 
■  □□■ 
BBGB 
■  ■□□ 
□□BB 

282 

■□■■■□■□ 

■■□■□■□■ 

BBBDBDDD 

□■□■□■□□ 

□□an 

□□□B 

■  □■□ 
□BBB 

■□■□□□■□ 

□■□■□□□■ 

■□□□■□■□ 

□■□□□■■■ 

□□BDBDBB 

□□□■■■□■ 

■□■□■■■□ 

□■■■□■□■ 

■□■■ 

BBDB 

BBBD 

□  BOB 
BDBD 
□BDB 
■□□□ 

□  BDD 

285 

■□■□■□■■ 

□□BBDBBB 

■■□□■□□□ 

□■□■■□□□ 

□  □□B 

□  □□B 

BBBD 

BBDB 

■□■■■□□□ 

□■□□□■■■ 

■■□□□■■□ 

BBDGDBDD 

□□■■■□■■ 

□□■■□■□■ 

□□■□□■■□ 

■■□■■□□■ 

BDDB 

□BBD 

BDBD 

BBDB 

□□BD 

□BBD 

BBBD 

□□□B 

288 

COMPLETE  ON 


BBBD 

□BDD 

BBBB 

□□□B 

□□BB 

BBQD 

■  □□□ 

BBBB 

□BDD 

□□BD 

□□BB 

BDBD 

■□□□■□□□ 

□□□BBBBB 

BBBCOrBG 

□BDDDBBB 

BBBBBDDD 

□□□BDDDB 

□□BBBBBD 

■■□□□■□□ 

BBBD 
BDBD 
BDDB 
BDDB 
DBDB 
DBBB 
DBDB 
■  ■□□ 

283 

BDDBBDBB 

■□□□■■□□ 

□BBBDBDD 

□■■■□□■■ 

□□BB 

BDBB 

BBDD 

□BBD 

□BBBDBBD 

BDDDBBDB 

BBDBBDDB 

□□BBDDDB 

□□■□■BBD 

BBDDBBBD 

BBBBB 

BDBBDDDB 

□□BB 

BBDB 

BBDD 

BBDB 

DDBB 

DBBD 

BBDD 

BDBB 

286 


BDBBDBDB 

BDBDBBDB 

DBDBBBDD 

BBDBDDBB 

BBDD 

DDBB 

BDBB 

BDBD 

BB  :  B  BB 
DDBBBDBD 
BDBBDBDB 
BDBDBBDB 
DBDBBBDD 
BBDBDDBB 
BBDDBDKB 
DDBBBDBD 

□  BDB 
BBDB 
BBDD 
DDBB 
BDBB 
BDBD 

□  BDB 
BBDB 

289 


12  ENDS 


DBDBBBBD 

□BBBBDBD 

□BBBBDDB 

BBBDBDDD 

□■□□ 

□□■□ 

□□□■ 

■□□■ 

BBBDDBDD 

BDBDDDBD 

BDDBDDDB 

BDDDBDDB 

□BDDDBDB 

□DBDDBBB 
□DDBDBBB 
BDDBBBB J 

■■■■■□□□ 

□□□■■■■■ 

□□■■■■■□ 

!□■□□□■■■ 

284 

DDBB 

□BBD 

BDDB 

BBDD 

BBBD 

□  BBB 
BDBB 

□  BDB 

□□■■ 

□■■□ 

■□□■ 

■■□□ 

BDDBBDBD 

□□□□BBDB 

□□□□BBBD 

BDDBDBBB 

□BBBDDBB 

BBBDBDDB 

BBDBDBBD 

■DBDBBDD 

□□■■□■□■ 

□■■□■□■■ 

■□□■□■■■ 

■■□□■■■□ 

287 

BBBDBBBD 

□BBBDBDB 

BDBBBDBB 

BBDBBBDB 

■■■□ 

■■□■ 

■□■■ 

□□□■ 

BBBDBBBD 

DBBBDBBB 

BDBBBDBB 

□■□BBBDB 

■■□□□■□■ 

■□□□□□■■ 

□■□□□■■■ 

□□□□ 

□□□■ 

■□■■ 

□■■■ 

■■■□ 

■■□■ 

■□■■ 

□■■■ 

290 

■■□□ 

■■■□ 

□□□■ 

■□□□ 

□■□□ 

□□■□ 

■■■■ 

■■■■ 

□□□■ 

■□□□ 

■BDD 

■■■□ 

□□□□ 

□□■□ 

□■□□ 

□□□□ 

■  ■□■ 
□■□□ 

■  ■■■ 
■  ■□■ 

■  ■□■ 

■  ■■■ 

□  ■□□ 

■  ■□■ 

■  ■□□ 
BDBB 
□□■■ 
□  □■■ 
■  ■□■ 
■■■□ 
■■■■ 
■■■■ 

■■□□ 

■■□■ 

□□■■ 

□□■■ 

□■□□□■■■ 

□□■□□□■■ 

■■■■□□□■ 

■■■■■□□□ 

□■■■BBDD 

□□■■■■■□ 

□□□■□□□■ 

■□□□■□□□ 

■■□□□■□□ 

■■■□□□■□ 

□□□■■■■■ 

■□□□■■BB 

■□■■■■□■ 

□□■□■■■■ 

■■■■□■□□ 

■□■■■■□■ 

■■□■□□□□ 

■■■■□■□□ 

□■□□□□■□ 

■■□■□□□□ 

□□□□ 

□  ■□□ 

□  □■□ 

□  □□□ 

■  □■■ 

□  □■□ 

■  ■■■ 

■  □■■ 

■□■■■■■□ 

□■■■■■□■ 

□■■■■□□■ 

□■■■□□□■ 

■□□□■■■□ 

■□□□■■■■ 

■□□□■■■■ 

■  BMBBBBLI 

□■■■■□□■ 

291  292  293 


70 


GLOSSARY  OF  WEAVES 


19 


WEAVES  COMPLETE  ON  12  ENDS— (Continued) 


□BOB 

GGBGI 

BGBG 

BBGG 

GBBGl 

BGGBBGGB 

GGBGBBGR 

BGBGGBBG 

BBGGBGBB 

294 

■□■□■□□a 

BBDOIBGD 

QBQBQQBB 

BGGB 

GBBG 

BBGG 

GGBB 

□□BBnDBD 

BBGGBBGG 
■GBQGBQB 
■  BB  B 
GGBBGGBB 
BBOGBBJB 
■□■□■■□□ 
GGBBGGBB 

□BGGBGBB 

□BBGGBBG 

BGGBBGGB 

BGGBGBGB 

297 

aaaaaBGB 

BBBBGBGB 

UGGBGBGB 

BBGBGBGB 

BGBB 

BGGG 

BBBB 

aaaa 

aaaaBGBB 

BBBBBGGG 

aaaaaaaB 

BBBBHBGB 

□aaaaBGB 

BBBBGBGB 

aaaBaBGB 

BBGBGBGBj 

BGBB 

BGGG 

BBBB 

aaaa 

BBBB 

.  GG  J 

BBBB 

aaaa 

300 

■GBBGGBG 

□BBBGGGB 

GGBBGGBB 

GGBBGGBB 

GGBB 

GGBB 

BBGG 

BBGG 

BBGGBBGG 

BBQGBBGG 

BGGGBBBG 

GBGGBBGB 

■■■■aaaa 

■BBBGGGG 

GGGGBBBB 

GGGOBBBS 

GGBB 

GGBB 

BBGG 

BBGG 

BBGG 

BBGG 

GGBB 

GGBB 

BBGBGGBB 

BBBGGGBB 

GRBGGBGB 

GGBGBBaa 

GGGB 

BGGG 

BBGG 

BBBG 

GGGBBBGG 

aaBBBaaa 

GBBBGGGB 

BBBGGGBB 

BBGGGBBH 

BGGGBBBG 

aaaBBBaa 

BGGBBGBG 

aaaaBBBG 

GBBBGGGB 

BBBGGGBB 

BBGGGBBB 

295 

GGBBGGBB 

GBBGGBBG 

BBGGBBGG 

BGGBBGBG 

GGBB 

BGGB 

BBGG 

GBGB 

GGBBGGBB 

GBBGBGGB 

BBGGBBGG 

BGBGGBGB 

GGBBGGBB 

BGGBGBBG 

BBGGBBGG 

GBGBBGGB 

BGGBBaaa 

BBGGBBGB 

GBBGGBBG 

GGBBGGBB 

298 


aBBaaaaa 

■BBGBGGB 

BBGBGGBG 

BGBGBBGG 

BBGB 

GGBG 

GBGB 

BGGB 

GBGBBBGfl 

BGBBBGBG 

GGBBGBGB 

GBGGBGBB 

BGGBGBB* 

GGBaaBBG 

GBGGBGGB 

BGGBQQBG 

GGBG 

GBGG 

BGGB 

BGBG 

GBGG 

BGBB 

GBBB 

BBBG 

301 


GBBBGBBG 

BBGGGBBG 

BBGBBGGG 

GGGBBGBB 

GGBB 

BBBG 

BBGB 

BGBB 

GBBGGGBfl 
GBBGBBBG 
BGGGBBGB 
BBBB  BC 
GGBBGBBB 
■  BB  BB 
■BGBBBGB 
■GBBGGGB 

BBGGGBBG 

GGBBGBBB 

■GBBGGGB 

BGGGBBGB 

BGGBBGGB 

GBGGBGBB 

GBBGGBBG 

GGBGBBGG 

BGGB 

GGBB 

GBBG 

BBGB 

BGGBBGGB 

■GBBGGBB 

GBBGGBBG 

BBGGBBGB 

BGGBBGGB 

aaBBGBaa 

GBBGGBBG 

BBGBGGBG 

BGGB 

GBGG 

GBBG 

GGBG 

BGGB 

BGBB 

GBBG 

BBGG 

296 

aaacBaaa 

GBBBGGGB 

GGBGGGBB 

■■aaaBaa 

■  ■■■ 

GGBG 

BBGG 

BGGB 

■GGGBBBB 

aaaBGGBa 

GGBBBBGG 

GBOGBaGB 

■BBBGGGG 

GGBGGBBB 

■■aaaaBG 

■GGBBBGG 

aaaa 

GBBB 

GGBG 

BBGG 

■aaa 

GGGB 

GGBB 

GBGG 

299 

GBGBGBBB 

BGBGBBGG 

□BGBBBGG 

■GBBGGBB 

GGBB 

BBBG 

BBGB 

BGBG 

GBBBGGBB 
■BGGBBBG 
BBGGBBGB 
GGBBBGBG 
GGBBGBGB 
■  ■■GB,  jBG 
BBGBGBGB 
■GBGBGBB 

GBGB 

BGBG 

GBGB 

BGBB 

GBBB 

BBGG 

BBGG 

GGBB 

302 

aaaBGBaa 

■BGGBGBG 

GBGBGGBB 

aaBGBaaa 

BBBB 
GGBB 
BBGG 
■  ■■■ 

GBGGBBBB 

■GBGGGBB 

GGBBBBGG 

■GGGBBBB 

■BBBGGGB 

GGBBBBGG 

■BGGGBGB 

■■■■GGBG 

GGGB 

BBGG 

GBGB 

GGBG 

GBGG 

BGBG 

GGBB 

■aaa 

303 


304 


305 


20 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  12  ENDS-(Continued) 


□BBQBBQB 

SDBBrJEQD 

□□■□«■□■ 

□□□■ 

■  □■□ 

as  .■□□□■ 

□  ■  □□(  B  ■ 

SB  jBI 

■  □□□ 

■□■a 

■  ■□■ 

306 


■■■□□□□□ 

BBBQiQBBB 
BBBQ  HBB 

□□□□□BBB 

BBBQ 

□□□□ 

□□□□ 

□  BBB 

□□BBiDDa 

□□■■■□□□ 

□□□□□BBB 

■■■□□■■■ 

BBBQQBB1 

■■■□□□□□ 

□□□■■■□□ 

□□□■■■□□ 

□  BBB 

□  BBB 

■□□□ 

■  □□■ 

■  □□■ 
□□□B 

BBBQ 

BBBQ 

307 


BOGBOBI 

□□■■□□□□ 

□■□■■□■■ 

□  BBB 

□  ■■□ 
□■□■ 
■□■□ 

BBQDOjBB 

□■■□□□an 

□□□■■■□■ 

■□□■■□■□ 

□□□■□■□□ 

■■■□■□□■ 

BBQIQQBB 

■□■□□■□■ 

□■□□ 

■  □□■ 
□□BB 
□■□■ 
■  ■□□ 
□  ■■□ 
□□□□ 
■□□□ 

308 


□□□□ 

□  □BB 

■  □□□ 

□□□□ 

□■■□ 

■□□□ 

■  BGB 

BBBQ 

«□■■ 
■  ■□□ 

■  ■■□ 
■  ■■■ 

□□□■□■■□ 

□□■■■□□■ 

□■■■□□■■ 

■■■□□■□■ 

□■■■ 

□□■■ 

■  □□■ 

■  ■□□ 

□□□■ 

□□■□ 

□■□□ 

■□□□ 

□□□□ 

□□□□ 

■■■■ 

■  ■■■ 

■  ■■□ 
■  ■□■ 
■□■■ 
□■■■ 

□■□□■□□■ 

□□□□■□BB 

□□■□□■■■ 

□□■□■■■■ 

■□□■■■■□ 

■□■■■■□■ 

□■■■■□□B 

■■■■□■□□ 

■  ■■□ 
BBIJB 
■  □□■ 

□  ■□□ 

□  ■□□ 
□□□□ 
□□■□ 

□  □■□ 

□■□□■■□□ 

■□□■■■□□ 

■□■□□□■■ 

□■■■□□■■ 

□□■■■□■□ 

■□□■■■□□ 

■■□□■□□■ 

■■■□□■■□ 

■  ■■□ 

□  ■□■ 
■□□■ 

□□■□ 

□  ■■■ 

■  ■■□ 

■  ■□□ 

■  □□□ 

□■□■□□□□ 

■□■□□□□□ 

□■□■■■■■ 

■□■□■■■■ 

□□■■□■■■ 

□□■■■□■■ 

□□■■■■□■ 

■  ■■■ 
■  ■■■ 

□□□□ 

□□□□ 

■□□□ 

□■□□ 

□□■□ 

□□□■ 

300 


310 


311 


■  □■□ 
□■□■ 

□□□□ 
□  □□□ 
□  □□□ 
□  □□□ 

■  □■□ 
□■□a 

■  BBB 

■  BBB 

■  ■■■ 

■  BBB 

■■■□■■■□ 

□■■■■■□■ 

■□■■■□■■ 

□■■■ 

■■■■ 

■■■■ 

■■■■ 

□■□□■■□□ 

■□□■■□■□ 

□□■■□■□■ 

□■■□■■□□ 

■■□■ 

□■■□ 

□□■■ 

■□□■ 

□■□■□■□■ 

■□■□■□■□ 

:  ■&■■■  .B 

■□■■BBBQ 
□■■■■■□■ 
■□■■■■■□ 
□  ■□■i  B  ■ 
■□■□■□■□ 

■□□□□□■a 

□■□□□□□■ 

■□□□□□■□ 

□■□□□□□■ 

■■□■□■■■ 

■□■■■□■■ 

□■■■■■□■ 

■■■■■■■□ 

■□■■■□■■ 

■■□■□■■■ 

■■■□■■■□ 

□■■■□■■■ 

■■□■■■□■ 

■■□■■■□□ 

■□■■■■□□ 

□■□□□□■■ 

□□■□□□■■ 

■□□■□□■■ 

■■□□■□■□ 

□■■□□■□■ 

■□■■□□■■ 

□■□□ 

□□■□ 

■■□■ 

■□■■ 

□■■□ 

■■□□ 

■□□■ 

□□■□ 

312  313  314 


■  BB'  BBB 

■■□■■■□a 

■  □■■■□BOB 
□■■■□■□□ 

□□□■ 

□□□■ 

□□□■ 

BBBQ 

□□■■■□□■ 

□■■■□□□■ 

■■■□□■■□ 

■■□□□■■□ 

■  □□■ 

■  □■□ 

□  ■□□ 

■□□■ 

□  ■■□ 

□□■□ 

■  ■□■ 
■□□■ 

□□□■ 

■  ■■□ 
■  ■■□ 
BBBQ 

■□□□ 

■□□□ 

■□□□ 

□■■■ 

■BBDiBan 

■■□■■■□□ 

■□■□□□■■ 

□■■□□□BB 

■■■□□□■□ 

□□□■■■□■ 

□□□■■□■■ 

□□□■□■■■ 

□  BED 

□  ■□■ 
■□■■ 
□BBB 
■  ■■□ 

■  ■□■ 

«□■■ 

□  ■■■ 

■□□■■□□■ 

□□□■■□■□ 

□■■□□■□□ 

□■HDBDDB 

■□□■□□BB 

■□■□□■■■ 

□■□□■■■□ 

■□□■■■□□ 

□  □■■ 

□  ■■■ 

■  ■■□ 

■  ■□□ 

■  □□■ 

□  □□■ 

□  ■■□ 

□  ■■□ 

■□□■■■□□ 

■■□■■■□□ 

□□■□□□■■ 

□■■□□□BE 

■■■□□□■■ 

□□□■■■□□ 

□□□■■□■a 

□□□■□□■■ 

□■■□ 

□■□□ 

■□■■ 

■□□■ 

■□□□ 

□■■■ 

□■■■ 

□■■■ 

315 


316 


317 


70 


GLOSSARY  OF  WEAVES 


21 


WEAVES  COMPLETE  ON  12  ENDS— (Continued) 


■■■□ 

■□□■ 

B  NH 
□BBB 
BBflfl 

■■■□ 

■a  a 

□■■a 

■■■■ 

aaaa 

BBBD 

■  ■□□ 

■  □■■ 

□  □BB 

■  □■■ 

□□□■□■BB 

□□■□■BBD 

□BDBBBDD 

■□BBBDBB 

□■■■ 
□  ■■■ 
□■■■ 

■□□□ 

■□□■■□□■ 

■□□■■□■■ 

□■■□□■■■ 

□■■□■■■a 

■□□naan 

■■■■□■■□ 

BSID 

SB  fl 
BDBD 
□  BBD 
BDCB 
BDDB 
□BBD 
□BBD 

■□■■■■■□ 

1BDBRBBB 

annual 

■■□□□■■■ 

■□■BBDBD 

□□BiiDDB 

■□■■■□■a 

■■□□□■■a 

■  ■■□ 
□□□■ 

■  BB 

□  BBB 

■■■a 

■■■■ 

■  BBD 

SBDB 

□BBBDDBB 

■■■□□□SB 

BB  BBB  . 

■□□■earn 

□□□■■«□■ 

■■■□□□■□ 

■■■□□■□■ 

■■■□■□BB 

■□□■ 

■□■□ 

□■□■ 

■□■■ 

□■■■ 

■  BBD 

■  ■□□ 
■□□□ 

318 

319 

320 

■■■■□□■■ 

BBBBBBB 

□■■■■■□■ 

□□■■■■■□ 

BBDB 

BBBj 

■  BBB 

■  BBB 

□□BBnDBB 

□□■■□BBB 

■■□□BBBD 

■■□■■■□□ 

■□■■ 

□□■■ 

■  ■□□ 

■  ■□□ 

□■□BBDBD 

■□■□■■□■ 

■■□■□■BB 

□■■□■□■□ 

■  ■□■ 

ft  □■□ 
□■□■ 

■□■■ 

■■■■■□□■ 

BBBBQDDB 

IIBDBBID 

■■□■■■■□ 

■□BBBBBQ 

□BBBBBDB 

lJBBBBI  IBB 

□BBBDBBB 

□■■■ 

■□□□ 

■  ■■□ 

■  ■■■ 

■  ■■■ 

□  ■■■ 

□□■■BDBB 
□BBBDDBB 
BBB  BB 
■■□□■■□□ 
■□■■□□BB 
□□BBDDBfl 
■■□□■■□□ 
&■□□■■□■ 

□□■■ 

□□■■ 

■  ■□□ 

■  ■□■ 
□□■■ 
□BBB 
■  ■■□ 

■  ■□□ 

b  ■■  .a  m 
■■□BBDBD 
■□■■□■□■ 
□BBDBDBD 
BBDBDBBB 
■□■□■■□■ 
□■□BBDBD 
■□■BDBBB 

□■■□ 
■■□■ 
□■■□ 
■  □■■ 

□Bl  <■ 

■□■□ 

■■□■ 

□■■□ 

321 

322 

323 

■■□■□□■□ 

■□■□■■□□ 

□■□□■■□■ 

■□□■□□■□ 

□  ■□■ 

■□■■ 

□■■■ 

■■■□ 

□□■□□■□■ 

■■□□■□■■ 

■■□■□■■■ 

□□■□■■■□ 

□■□■■■□■ 

■□■■■□■□ 

□■■■□■□□ 

■■■□■□□■ 

■  ■□■ 
■□■□ 

□■□□ 

■□□■ 

□□■□ 

■■□□ 

■■□■ 

□□■□ 

324 


□□■□□□■■ 

□□□■□□■■ 

■□□□■■□□ 

□■□□■■□□ 

□□■■ 

□□■■ 
■  ■□□ 

■  ■□□ 

□□■■□□■■ 

□□■■□□■B 

■■□□■■□□ 

■■□□■■□□ 

□□■■□□■□ 

□□■■□□□■ 

■■□□■□□□ 

■■□□□■□□ 

□□■□ 

□□□■ 

■□□□ 

□■□□ 

□□■■ 
□□■■ 
■  ■□□ 
■  ■□□ 

325 


□□□■□□■■ 

□□■□□■■■ 

■■□□□■■□ 

■□□□■■□□ 

■□□■ 

□□■□ 
□  ■□□ 

■□□■ 

■□□■□□□■ 

□□■□□□■□ 

□■□□■■□□ 

■□□■■□□□ 

□□■■■□□■ 

□■■■□□■□ 

□■■□□■□□ 

■■□□■□□■ 

■■□□■□□□ 

□■□□■■■□ 

□□■□□■■■ 

□□□■□□■■ 

■■□■□□□■ 

■□□□■□■□ 

□■□□□■□□ 

□□■□■□□□ 

□□□a 

□□BB 

□■■■ 

■BBD 

□□□■□□□a 

■□■□□□■a 

□■□□□■■■ 

■□□□■■■□ 

□□□■■■□■ 

□□■■■□□□ 

□■■■□■□□ 

■■■□□□■□ 

■■□■ 

■□□□ 

□■□□ 

□□■□ 

□□□■ 

■□■□ 

□■□□ 

■□□□ 

326 


327 


22 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  12  ENDS— (Continued ) 


□DBDDBDB 


BDDBDBBD 

as  aa  ; 


■□□□ 


bbdd 


■■  <■ 
□bbd 


■c 

□■□■□□■a 


■  ■■□ 


■  ■■□ 


□□□□□■□■ 

■□■□■□■a 

□□□■□■□a 

□BDBDBBB 

□□BDBDBD 

BflBBBB 


DBDBDBDB 

DBDBBBBB 

BDBDBDBD 

BDBBBBBD 

□BDBDBDD 

DBBBBBB 

BDBDBDDD 

BBBBBDBG 


□BDBDDDD 

BBBBDBDr 

BDBCDDDD 

BBBDBDBD 

□BDDDDDB 

BBDBOBOr 

BDDDDDBD 

BQBDBDBO 


□BDB 

BBBB 

BDBD 

■Ban 

a 

BBUB 

BDDD 

BDBD 


□□□□ 

□BDB 

□□□□ 

■  a 

□□□a 

□BDB 

□naa 

BDBD 


□BDB 

□BDB 

BDBD 

BDBB 

□BDB 

□BBB 

BDBD 


328 


329 


330 


WEAVES  COMPLETE  ON  16  ENDS 


□□□□BBBB 

□□□□BBBB 

□□□□BBDD 

□□□□BBDD 

BBBBBB 

BBBBBBDD 

BBDDDDBB 

S1DDDD8B 

BBBBDDDD 

BBBBDDDD 

□DBBDDDD 

□DBBDDDD 

□DBBBBBB 

BBDDDDBB 

BBDDDDBB 

BBDDDDBB 

BBDDDDBB 

□DBBBBBB 

□DBBBBBB 

□DBBDDDD 

□DBBDDDD 

BBBBDDDD 

SBBI1DDDD 

BBDDDDBB 

BBDDDDBB 

BBBBBBDD 

BBBBBBDD 

□□□□BBDD 

□□□□BBDD 

□□□□BBBB 

□□□□BBBB 

331 


BBBDBDDB 

BBDDBBDD 

BDBDDBBD 

□DBBDDBB 

BDDBBDCB 

BBDDBBDD 

□BBDDBBD 

□DBBDDBD 

BDDBBDDB 

BBDDBDBB 

□BBDDBBB 

□DBDBBBB 

BDDBBBBD 

BDBBBBDD 

□BBBBDBD 

BBBBDDBB 

BDDBBDDB 

BBDDBDHB 

□BBDDBBB 

□DBDBBBB 

BDDBBBBD 

BDBBBBDD 

□BBBBDBD 

BBBBDDBB 

BBBDBDDB 

BBDDBBDD 

BDBD!  IBBG 

□DBBDDBB 

BDDBBDDB 

BBDDBBDD 

□BBDDBBD 

□DBBDDBD 

333 


□DDBBBDD 

□DBBBDDD 

□BBBDDDB 

BBBDDDDB 

BBDDDBBD 

BDDDDBBD 

□DDBBDDB 

□DDBBDDB 

□BBDDBBD 

□BBDDBBD 

BDDBBDDD 

BDDBBDDD 

□BBDDDDB 

□BBDDDBB 

BDDDDBBB 

BDDDBBBD 

□BBDDBBD 

□BBDDBBD 

BDDBBDDD 

BDDBBDDD 

□BBDDDDB 

LBBDDGBB 

BDDDDBBB 

BDDDBBBD 

□DDBBBDD 

□DBBBDDD 

□BBBDDDB 

BBBDDDDB 

BBDDDBBD 

BDDDDBBD 

□DDBBDDB 

□DDBBDDB 

332 


□BDDBDBB 

□BDBDBDB 

BBDBDDBD 

□DDBDBDB 

BBBBDBDD 

□□□□□BDB 

BDBBBBDB 

□BDDDDDB 

BDBDDBDB 

BDBDBDBB 

BDDBDBBB 

BDBDBBBD 

□BDBBBDB 

BDBBBDBD 

□BBBDBDB 

BBBDBDDD 

BDBDDBDB 

BDBDBDBB 

BDDBDBBB 

BDBDBBBD 

□BDBBBDB 

BDBBBDBD 

□BBBDBDB 

BBBDBDDD 

BBDBDBBB 

BDBDDDDD 

DBDBBBB D 

BDDDDDBD 

□BBBBDBD 

□□□□BDBD 

BBBDBDDB 

□□BDBDBD 

334 


§70 


GLOSSARY  OF  WEAVES 


23 


WEAVES  COMPLETE  ON  16  ENDS— (Continued) 


□■□■□■□a 

□□■□■□■□ 

■□□■□■□□ 

□□■□■□■□ 

□BDBDBDB 

BDBDDDBD 

□BDDBDDB 

BDDBBBDD 

DDDDBDDD 

DBDBDBDB 

BBBDDDBB 

□BDBDBDB 

□DDDBDDD 

■□■□□□■□ 

□BDDBDDB 

■□□■■■□□ 

□DDDBDDD 

□BDBDBDB 

BBBDDDBB 

DBDBDBDB 

□DDDBDDD 

BDDBBBDD 

□BDDBDDB 

BDBDDDBD 

□BDBDBDB 

□□BDBDBD 

BDDBDBDD 

□□BDBDBD 

□BDBDBDB 

335 


□DBBBDDB 

□DBBDDDB 

□BBBDDBD 
□BIJBBDB 
BDDBDDBB 
□BBDDDBB 
BBBDDBBB 
BBDDDBB  ~ 

BBDDBDDB 

BDBBDBBD 

□BDDBBBD 

BDDDBBDD 

BDDBBBDD 

□DDBBDBB 

□DBDDBDD 

BBDBBDDD 

BBDDBDDB 

BDBBDBBD 

□BDDBBBD 

■□□□■■□□ 

BDDBBBDD 

□DDBBDBB 

□DBDDBDD 

BBDBBDDD 

□DBBBDDB 

□DBBDDDB 

□BBBDDBD 

□BBDBBDB 

BDDBDDBB 

□BBDDDBB 

BBBDDBBB 

BBDDDBBD 

337 


BDDBDDBB 

□BBDDBDB 

BDBDDBBD 

BBDDBDDB 

□DBBDDBD 

□BDBDDBB 

□BBDDBDD 

BDDBBDDB 

□DBDBDDB 

□DBBDDBD 

□BDDBBDD 

BDDBDBDD 

BDDBBDDB 

□DBDDBBD 

BBDDBDBD 

□BDDBBDD 

□DBDBDDB 

□DBBDDBD 

□BDDBBDD 

BDDBDBDD 

BDDBBDDB 

□DBDDBBD 

BBDDBDBD 

□BDDBBDD 

BDDBDDBB 

□BBDDBDB 

BDBDDBBD 

BBDDBDDB 

□DBBDDBD 

□BDBDDBB 

□BBDDBDD 

BDDBBDDB 

BBDBBBDD 

BBDDBDDD 

□DBBDBBB 

BDBBDDBD 

□BDDBBDB 

BBBDBBDD 

□DDBDDBB 

□DBBBDBB 

□BDDDBDD 

BDDDBBBD 

□DDBDDDB 

□DBDDDBB 

BBDDDBDD 

BDDDBDDD 

□BBBDDDB 

□DBDDDBD 

□BDDDBDD 

BDDDBBBD 

□DDBDDDB 

□DBDDDBB 

BBDDDBDD 

BDDDBDDD 

□BBBDDDB 

□DBDDDBD 

BBDBBBDD 

BBDDBDDD 

□DBBDBBB 

BDBBDDBD 

□BDDBBDB 

BBBDBBDD 

□DDBDDBB 

□DBBBDBB 

336 


□BBDBBDB 

BDDDBBBD 

BDBBDBBB 

□DBBBDBB 

BBDBBBDD 

■BBDBBDB 

□BBBDDDB 

■■□□□■■■ 

■■□■■□■■ 

□DDBBBDB 

□■■□■■■D 

□■■■□■■□ 

■□■■■□□□ 

■■□■■□■■ 

■BBDDDBB 

■■□□□■■■ 

□DDBBBDB 

□■■□■■■□ 

□■■■□■■□ 

■□■■■□□□ 

■■□■■□■■ 

■BBDDDBB 

□■■□■■□a 

■□□□■■■□ 

■DBBDBBB 

DDBBBDBB 

■■□■■■□□ 

■BBDBBDB 

DBBBDDDB 

■□■■□■■□ 

338 


□DBDDBDD 

□■□■□□■□ 

■DBDBDDB 

□■□■□■□□ 

■□■□■□■□ 

□BDBDBDB 

■□■□■□■□ 

□■□■□■□□ 

■□□□■□□■ 

□■□■□□■□ 

□□■□□■□■ 

□■□■□□■□ 

■□□□■□□■ 

□DBDDBDD 

□■□■□□■□ 

■□■□■□□a 

■DBDBDDB 

□■□■□□■□ 

□DBDDBDD 

■□□□■□□■ 

□■□■□□■□ 

□□■□□■□■ 

□■□■□□■□ 

■□□□■□□■ 

□DBDDBDD 

□■□■□□■□ 

■DBDBDDB 

□■□■□■□□ 

■□■□■□■□ 

□BDBDBDB 

■□■□■□■□ 

□■□■□■□□ 

339 


340 


24 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  10  ENOS— (Continued) 


■□□■■□□a 

□□■■□□■a 

□BBDDBBD 

■BQDBBDB 

BDDBBDBB 

□□BBQBBB 

□BBGBBBB 

BBDBBBBD 

BDBBBBDB 

□BBBBGBB 

■BBBQBBQ 

BB  /  :bb  .b 

BDDBBDBB 

□□BBQBBB 

□IBDBBBB 

BB  BBifl 

BDBBBBDB 

□BBBBQBI 

BBBBUBBJ 

BBBDBBDD 
BBQBBmB 
B  IBJjBB 

□BBQiJBBQ 

BB  BB 

BDDBBDDB 
□DBBDDBB 
□BBDDBBD 

311 


□□BBDDBB 
■  BBSS 

□BDDBBDD 

□DBDBBDD 

BBDBDDBB 

■BQDBOBB 

□□annann 

dbdddddb 

DBDDDDDB 

ddbddbdd 

BBDDBDBB 

BBQBDaBB 

□DBDBBDD 

dbddbbdd 

BDBBDDBB 

□□BBDDBB 

bdddddbd 
ddbddbdd 
bb:  .b'  h  ':bb 

bb  ::  B  BB 

□□Banana 

□□BBOaBD 

BBDDBBDB 

bbddbbdd 

bbddbbi  □□ 

BBDDBBDB 

□DBBDDBD 

□□Banana 

BB  B  BB 

BBDBaDBB 

ddbddbdd 

bdddddbd 

343 


□BDBDBBD 

BnanrjBaB 

BDBDBDBD 

dbddbdbd 

BB  B  B  B 
□□BBDBDB 
BBDDBDBB 
BBBDBDBB 

BDDBDBBB 

BB  B  BB 

BBBDBDDB 

BBBBDBBD 

BBBBBDDB 

□BBBBBDB 

BDBBBBBD 

□BDBBBBD 

BBBBDBaD 

BIHBBDIB 

□BBBBBDD 

BDBBBBBD 

□BDBBBBB 

BDBQBBBB 

BDBDDBBB 

□BDBBDDB 

BBDBDBDB 

dbddbdbd 

BDBDBDBD 

BDBDDBDB 

□BDBaBBD 

□BDBBDDB 

BDBDaBBB 

BBBBBB 

345 


□BBBQDBB 

□□BDDBBB 

■□□□BBBB 

BBamBBB 

BaDBDDBD 

□□BBBDDB 

□BBDBBBB 
□BBDDBBB 
B  'DBB'  BB 
BBDBBDDB 
BBBDDBBD 
BBBBDBBD 

BBBBBBB 

BBGBBBB 

□DBBDBBB 

BDBBDDBB 

BBDDBBDB 

BBBDBBDD 

BBBBDDBB 

□□BBBBBQ 

BDDBBBQD 

BBDDBDDB 

BBBDDDBB 

BBDDDBBB 

BDDBDDBB 

□□BBBDDB 

342 


□BBDDBDB 

□BBBBDBD 

□□BBBBDB 

□BDBBBBD 

BDBDABBB 

BBDBDDBB 

BBBDBDDD 

□□BDDBBB 

□BDDBBBB 

BDDDBBDD 

□DDBDDDB 

□BBDDDBD 

BBBDDBDD 

BBDDBDDD 

□□BDDBBB 

□BDDBBBB 

BDDDBBDD 

□DDBDDDB 

□BBDDDBD 

BBBDDBDD 

BBDDBDDD 

BBDBDDDB 

BDBDDBBD 
B  BBBB 
BDBBBBDD 

□BBDt 

□  BBB 
□DBB 
BDBB 
□BDB 
BDBD 
BBDBt 
BBB:  "II 

344 


□BDDBDDD 

□BBBDDDB 

BDDBDDBD 

BDDBBBDD 

BBBDDBDD 

□□BDDBBB 

□□BBBDDB 

□BDDBDDB 

BDDDBBBD 

□DDBDDBD 

□DBDDDBB 

□BDDDBDD 

BDDDBDDD 

□DDBDDDB 

□DBDDDBD 

BBDDDBDD 

BDDDBBBD 

□DDBDDBD 

□DBDDDBB 

□BDDDBDD 

BDDDBDDD 

□DDBDDDB 

□DBDDDBD 

BBDDDBDD 

□BDDBDDD 

□BBBDDDB 

BDDBDDBD 

BDDBBBDD 

BBBDDBDD 

□□BDDBBB 

□□BBBDDB 

□BDDBDDB 

346 


. 


70 


GLOSSARY  OF  WEAVES 


25 


WEAVES  COMPLETE  ON  16  ENDS— (Continued) 


■□■□□■□■ 

■□■□■□■□ 

□■□■□□■□ 

□■□■□□■□ 

■□■□■□□■ 

□□■□■□□■ 

□□■□■□■□ 

□■□■□■□□ 

■□□■□■□□ 

B'UDBCBQB 

b:bj*:bc 

□■□□■□■□ 

□■□□■□■□ 

□■□■□■□■ 

□□■□■□■□ 

□■□■□■□□ 

■□□■□■□□ 

■□□■□■□■ 

■QBQBQBQ 

□■□□■□■□ 

□■□□■□■□ 

□■□■□■□■ 

■□■□□■□■ 
■□■□□■□■ 
B  B  B  B 

□■□■□□■□ 

□■□■□□■□ 

□■□■□■□■ 
a  b  a  .  :b 

□□■□■□□■ 

347 


BGBBDDDI 

BBDBDBBG 

□■■□■■□■ 

BQDBBGBB 

□□■■□■■□ 

□□■□■■□■ 

□■□■■□■■ 

□□□■□BBC 

□□■□■■□■ 
□□■■□■■□ 
B  BB  BB 

bb  bb  :a 
■■□■□■■□ 
BDBBDDQB 

■■□■■□■□ 

BGDDBBjB 
□■■□■□■■ 
B  Bfl  BB 
BB  BB  .B 
BB  BB 
BGBBGBDD 
■■□■■□■□ 
□■■□■□□□ 

BQBEQBQQ 
□■■□■■□□ 
BB  BB  B 

B  BB  BB 

□BBDBDIB 

■□□□■■□■ 

□□□■□■■□ 

B  BB  ..BB 

349 


□■■■□■□□ 

■■■■□□■□ 

Bizazass 

BBUDBDBB 

□BGGBBSB 

□QBQBHBQ 

□QBBBBQB 

HQBBBQQB 

85BBQ8BQ 

BBBQQBHQ 

SSQBIQQB 

■QQBBQBB 

□BBQQBBB 

□BBQBBBB 

BQQBBBQB 

EQBHBBQQ 

3BBE  BBQ 
■BiDDBBD 
BB  B 
BQDBBGBB 
□BBQQBBB 
□BBQBBBB 
BQQBBBQB 
BQBBBBQQ 

BQQQBBBQ 

□QQBHIBB 

■■■□□□■■ 

BBQQQBRB 

BBBBBQQQ 

□BBBQQQB 

□QBBBBBQ 

BBQBBBQQ 

BQBQBQBB 
□BQBQBBB 
■QBQBBBB 
BBQBBBB! 
BBBQBBBQ 
Bfl  B  B  B 
BQBQBQBB 
QBQBQBBB 

■■■□■□■□ 

■■■■■■□■ 

■■■■■□■□ 

□■■■■■□■ 

■□■BBBBB 

■■□■■■■■ 

■BBQBBBB 

HKBBQBHB 

BBBQBBBQ 

IB  BBBBB 
■QBBHBBB 
□■■BBBBB 
■■■■■□■■ 
■■■■□■□■ 
■■■■■□■□ 
■■□■□■□■ 

■■□■■■■■ 

■QBBBBBQ 

□■□■■■□■ 

■□■□■□■□ 

□■□■□■□■ 

■□■■■□■□ 

□■■■■■□■ 

■QBBBBBQ 

348 


■■■□■□□■ 

■□□■□□■a 
■□■□□■□a 
□■□□■□□■ 
■□□■□□■a 
□□■□□■□■ 
□■□□■□□■ 
■'  IQBCBBB 

□□■□□■□■ 

□BQBBBBQ 

■□□■□■■■ 

□BBBBQBQ 

□BQBBBBQ 

BBBQBQQB 

□■■■■□■□ 

■QBQQBQQ 

□□■□□■□■ 

□■□■■■■□ 

■□□■□■■■ 

□■■■■□■□ 

□■□■■■■□ 

■■■□■□□■ 

□■■■■□■□ 

■□■□□■□a 

BBBQBQQB 

BQQBQQBQ 

BQBQQBQQ 

□■□□■□□B 

BQQBQQBQ 

□QBQQBQB 

□BQQBQQB 

BQQBQBBB 

350 


□□□■□□■a 

BQQBQQBQ 

□■□□■□□■ 

□■□□■□□a 

□QBQQBBB 

□QBQQQBB 

BQQBBBQB 

BQQQBBBQ 

□HH0QHEB 

□□■■■□BB 

BBQBBBQQ 

BBBQBBBQ 

□■■■□□□■ 

■QBBBQQB 

■■□□□■□a 

BBBQQBQQ 

□■■■□■BB 

□□■■■□■■ 

■■□■■■□□ 

BBBQBBBQ 

□■■■□□□■ 

■□■■■□□■ 

■■□□□■□a 

BBBQQBQQ 

□□□■□□■a 

BQQBQQBQ 

□■□□■□□■ 

□■□□■□□a 

□QBQQBBB 

□QBQQQBB 

■□□■■■□■ 

■□□□■■■□ 

351 


352 


26 


GLOSSARY  OF  WEAVES 


7C 


WEAVES  COMPLETE  ON  16  ENOS— (Continued) 


BBUBBDDB 

BDBBDBBD 

BDBBDBBD 

□BBDDBBQ 

BBDBBDBB 

BDDBBQBB 

□BBDBBDB 

□BBDBBDB 

BDBBDBBD 

BDBBDBBD 

BDBBDBBD 

■□□■■□■a 

□■■□■■□a 

□bbdbbdb 

bdbbdbbd 

B'jBB!  IBB  j 

BBDBBDDB 
BBDBBDBB 
□BBDDBBD 
□BBDBBDB 
BDDBBDBB 
BDBB  BB D 
□BBDBBDB 
BBDBB JDB 

353 


DBBDDBBD 
BB  BB 

BDDBBDDB 
BDDHBDBD 
□BBDDBBD 
DBBDBDBD 
BDDBBDDB 
BDBDBDDB 

□BBDDBDB 

BDBDDBBD 

BDDBDBDB 

BDDBBDDB 

DBDBDBBD 

□BBDDBBD 

□BDBBDDB 

BDDBBDDB 

□BBDDBDB 

BDBDDBBD 

BDDBDBDB 

BDDBBDDB 

DBDBDBBD 

□BBDDBBD 

□BDBBDDB 

BDDBBDDB 

□BBDDBBD 

□BBDDBBD 

BDDBBDDB 

BDDBBDBD 

□BBDDBBD 

DBBDBDBD 

BDDBBDDB 

BDBDBDDB 

354 


BDDBBBDD 

BBBDDBBB 

BBBBDDBB 

DDBBBBDD 

□BBDBBDD 

BBDBBDBB 

BDDBBDBB 

□BBDDBBB 

BBBDDBBB 
BDDBBBDD 
DDBBBBDD 
BBBBDDBB 
BBDBBDBB 
□BBDBBDD 
DBBUi  BOB 
BDDBBDBB 

BBBDDBBB 

BDDBBBDD 

DDBBBBDD 

BBBBDDBB 

BBDBBDBB 

□BBDBBDD 

□BBDDBBB 

BDDBBDBB 

BDDBBBDD 

BBBDUBBB 

BBBBDDBB 

DDBBBBDD 

□BBDBBDD 

BBDBBDBB 

BDDBBDBB 

DBBDDBBB 

355 


BDDBBDDB 

□BDDBBBD 

□BBDDBBB 

□DBBBDBB 

BDDBBBDB 

BBBDBBBD 

□BBBDBBB 

BDBBBDDB 

BBDBBBDD 

BBBDDBBD 

riBBBDi  1BD 

BDDBBDDB 

BBDDBDDB 

□BBDDBDD 

□DBDDBBD 

BDDBDDBB 

BBDBBBDD 

BBBDDBBD 

□BBBDDBD 

BDDBBDDB 

BBDDBDDB 

□BBDOBDD 

□DBDDBBD 

BDDBDDBB 

BDDBBDDB 
□BDDBBBD 
□BBDDBBB 
□DBBBDBB 
BDDBBBDB 
BBBDBBBD 
□BBBDBBB 
Bl  BBB  II  IB 

□BBBDBBB 

BDBBBDBB 

BBDBBBDB 

BBBDBBBD 

□BBBDBDB 

BDBBBDBB 

BBDBDBDD 

■BBDBBDD 

□BDBDDBB 

BDBBDDBD 

□BDDBBDB 

BBDDBDBD 

□DBBDBBB 

□DBDBDBB 

BBDBBBDB 

BDBDBBBD 

□BDBDDBB 

BDBBDDBD 

□BDDBBDB 

BBDDBDBD 

□DBBDBBB 

□DBDBDBB 

BBDBBBDB 

BDBDBBBD 

□BBBDBBB 

BDBBBDBB 

BBDBBBDB 

BBBDBBBD 

□BBBDBDB 

BDBBBDBB 

BBDBDBDD 

BBBDBBDD 

356 


□BBBDBDB 

BBBDBDBD 

BBDBDBDB 

BDBDBDBD 

□BDBDBDB 

BDBDBDBB 

□BDBDBBB 

BDBDBBBD 

□BDBBBDB 

BDBDBBBD 

□BDBDBBB 

BDBDBDBB 

□BDBDBDB 

BDBDBDBD 

BBDBDBDB 

BBBDBDBD 

□BDBBBDB 

BDBDBBBD 

□BDBDBBB 

BDBDBDBB 

□BDBDBDB 

BDBDBDBD 

BBDBDBDB 

BBBDBDBD 

BDBDBBBD 

□BDBDBBB 

BDBDBDBB 

□BDBDBDB 

BDBDBDBD 

BBDBDBDB 

BBBDBDBD 

□BBBDBDB 

357 


358 


§70 


GLOSSARY  OF  WEAVES 


27 


WEAVES  COMPLETE  ON 


■□■□■□□a 

□■■□■□■a 

■BBDDBBD 

■BBBDBDB 

□BBBDBDB 

□■□■■□□■ 

BBDBDIBD 

□□□■□■□a 

BDBBDBDI 

■□■□■□□■ 

■□■□BBBD 

BBDBDDDB 

□□□■■■□■ 

□■■■■□■□ 

□■□□□□■■ 

□□BBBBDD 
■BDDDBBB 
■□■■□□□■ 
fl  B  BIB' 

□DBDDDBD 

■■□■■■□■ 

BBBDDDBI 

□□■■■□□□ 

■□□□■■■■ 

□■■■□□□□ 

□DGBGBBB 

■■■□■□■■ 

□□BDBDBB 

□■□□■□■□ 

359 


■■■■■□■■ 

□■■■■■□□ 

BGBBBBGB 

BBGBBBB 

BBBDfJBBB 

■■■□■■BB 

■■□■■■■■ 

□□□BBBBD 

□□□BBBBD 

BBDBBBBB 

BBBDBBBB 

■BBDDBBB 

BBDBBDBB 

BDBBBBDB 

□BBBBBDD 

BBBBBDBB 

■□□□■■□■ 

a  BB  BB 

QBBBBGBB 

DBBBBBDB 

BBBBBB 

BBDBBBBB 

BBBDBBBB 

BBBBDBBB 

BBDDBBBB 

□DBBDBBB 

□BBBBDBB 

□BBBBBDB 

BDBBBBBD 

BDDBBBBB 

□BBDBBBB 

361 


□BBDDBBD 

□BBDDBBD 

BDDDBDDB 

BDDBBDDB 

■DDBBDBB 

□DBDDBBD 

□BBDDBBD 

□BBDBBBD 

□BBDDBBD 

BBBDDBBD 

BDDDBBBD 

BDDBBDDB 

BDDBBDDB 

□DBBBDBD 

□BBDDBBD 

□BBDDBBD 

BDDBBDDD 

BDDBBDDB 

BDBBBDDB 

□BBDDDBB 

□BBDDBBD 

BBBDDBBD 

BDDDBBBD 

BDDBBDDB 

BBBDBDDD 

BDDBBDDB 

BDDBBDDB 

BDBDDDBD 

□BBDDBBD 

DBBDDBBD 

BDDDBDDB 

BDDBBDDB 

BDDBBDDB 

□DBBBDBD 

□BBDDBBD 

□BBDDBBD 

■BBDBDDD 

BDDBBDDB 

BDDBBDDB 

BDBDDDBD 

BDDBBDBB 

□DBDDBBD 

DBBDDBBD 

□BBDBBBD 

BDDBBDDD 

BDDBBDDB 

BDBBBDDB 

□BBDDDBB 

16  ENOS— (Continued) 


BBBDDBBB 

□DDBBDBB 

BDDDBDBB 

□BBBDBDD 

□BBBDBBD 

BDBBBDDB 

BDBBBDDB 

□BDDDBBD 

□BBDDDBD 

BGGBBBGB 

BDDBBBDB 

□BBDBBBD 

□DBDBBBD 

BBDBDDDB 

BBDBBDDD 

BBBDDBBB 

BBBDDBBB 

□DDBBDBB 

BDDDBDBB 

□BBBDBDD 

□BBBDBBD 

BDBBBDDB 

BDBBBDDB 

□BDDDBBD 

□BBDDDBD 

BDDBBBDB 

BDDBBBDB 

□BBDBBBD 

□DBDBBBD 

BBDBDDDB 

BBDBBDDD 

BBBDDBBB 

360 


□BDBDBDB 

BBBDBDBD 

□BBBDBDB 

BDBBBDBB 

□BDBDBDB 

■DBDBDBD 

□BDBDBDB 

BDBBBDBD 

□■□■■■□■ 

■DBDBBBD 

□■□■□■□a 

■□■□■□■□ 

■BDBDBDB 

■BBDBBBD 

□■□■□■■■ 

■□■□■□■■ 

□■□BBBDB 

■DBDBBBD 

□BDBDBDB 

■□■□■□■□ 

■BDBDBDB 

■BBDBBBD 

□■□■□■■■ 

■□■□■□■■ 

□BDBDBDB 

■■■□■□■□ 

□BBBDBDB 

■□■■■□■■ 

□BDBDBDB 

■□■□■□■□ 

□■□■□■□a 

■DBBBDBD 

362 


□□□■■■□□ 

■■■□□■■■ 

□■■□□□□■ 

□■■■□□□□ 

■□□□■■□□ 

■□□□□□■■ 

■■■□□□□■ 

□□■■■□□■ 

□□□□■□□□ 

■□□□■■■□ 

□■■■□□■■ 

□□■■□□□□ 

□□■■■□□□ 

■BDDDBBD 

□■□□□□□■ 

□■■■□□□□ 

■□□□□□■■ 

■■■□□□□■ 

□□■■■□□■ 

□□□□■■■□ 

■□□□□□■□ 

□BBDDDBB 

□□□■■■□□ 

□□□□■■□□ 

□■□□■■□□ 

■□□□■□□□ 

■□□■■□□■ 

■□□■□□□■ 

□■■■□□■□ 

□■□□■■■□ 

■■□□■BSD 

■□□□■□□■ 

□□■■■□□■ 

□□■■■□□■ 

□DBDDBBB 

DBDDDBDD 

□■□□■■□□ 

■□□□■□□□ 

■□□■■□□■ 

■DDBDDDB 

DDBBBDDB 

□□□■■□□□ 

■□□■■■□□ 

■BBDDDBB 

□□■□□□□□ 

□□■■■□□□ 

■BDDBBBD 

iBDDDDSB 

363 


364 


28 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  16  ENDS— (Continued) 


■■□□□□□□ 

■□□□□□□□ 

□□□□□□□□ 

□□□□□□□■ 

aaaaaaaa 

□□annana 

aaaaaaaa 

□Baaaaaa 

□□BDDBBB 

aaaaaflBB 

□aaaaBBa 

□□B'jBBBlj 

□□□□□□■□ 

□□□□□■□□ 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

BBBBaaaa 

□aaaBBBB 

aaaaaaBB 

□■□□■■■a 

■□□■□□■a 

□■□□■□□a 

■□□■□□an 

□□aanana 

□aaaBBBB 

□□□aaaaa 

□aaaaaaa 

□□□aaaaa 

□□□□□ana 

□□□□□□□B 

□Baaaaaa 

aaaaaaaa 

Baaaiaaa 

BBBaaaaa 

□aaaBBBB 

□□□aaaaa 

aaaaaaaa 

□□□aaaaa 

aaaaaaaa 

□□□□□□an 

aaaaaaaa 

□□□□□aan 

□□□BOOBO 

□□□□BOOB 

□□Banana 

□□□BDDBQ 

365 


□BBBiaaaB 
BB  B  a 

B  JBBBUBi  J 
BBBaaaaa 
□aaBBaafl 
□BBBaaaa 
Baaaaaaa 

B  BBB  B  ! 

□□□□BBOB 

□□aaaaaB 

aaaaaaaa 

□□□aaaaa 

aaaaaaBB 

□□□□aaaa 

aaaaaaaa 

aaaaaaaa 

BBaaaflBB 
□aaBBBaa 
BB  B  BB 
□aaaaBBa 
□□BBaaaB 

aaaaaaBB 

□□□sanaa 

□Baaaaaa 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

BBBaaaaa 

aaaaaaaa 

□□□□aana 

□□aaaaaB 

aaaaaaaa 

□□□aaaaa 

aaaaaaBB 

□□□aaaaa 

aaaaaaaa 

aaaaaaaa 

□BBBaaaa 

aaaaaaaa 

Baaaaaaa 

BBBaaaaa 

□Baaaaaa 

□aaaaaaB 

aaaaBBaa 

Baaaaaaa 

BBaaaaaa 

□Baaaaaa 

aaaaBBaa 

aaaaaaaa 

□□□aaaaa 

aaaaaaaa 

□□□aaaaa 

BBaaaaaa 

□aaaaaaB 

□BBaaaBB 

aaaaBBaa 

□□BBaaaB 

aaaaaaaB 

□□□BBaaa 

□aaaaaaB 

□aanaaBB 

□aaBBaaB 

aaoBBaao 

aaBBOBBa 

□□aaBBaa 

□BBaaaaa 

□BBBaaaa 

BBaBBBBa 

□aaaaaaB 

aaaaaaaa 

aaaaaaaa 

aaaaaaaa 

□aaaaaaB 

□aaaaaaB 

aaaaaaaa 

aaaaaaaa 

BBBBaaaB 

BBBBBaa 

BBBaaaaa 

□BBBaaaa 

BaaaaBaa 

BBBBaaaB 

aaaaaaaa 

BBBaaaaa 

□□□aaaaa 

□aaaaaaB 

□□aaaaaB 

Baaaaaaa 

□Baaaaaa 

□□□Baaaa 

aaaaaBBB 

□aaaaaaB 

□Baaaaaa 

BaaaaBaa 

aaaaaaaa 

aaaaaaaa 

□aaaaaaB 

□aaaaaaB 

aaaaaaaa 

aaaaaaaa 

□aaaBBBB 

□aaBBaaB 

aaaaBBaa 

Baaaaaaa 

□□aaBBaa 

□aaaBBBB 

□BBBaaaa 

BBaBBBBa 

□□□aaaaa 

□aaaaaaB 

□□aaaaaB 

Baaaaaaa 

□aaaaaBB 

□aaaaBBa 

Baaaaaaa 

□□aaBBaa 

BBBBaaaB 

aaaBBBaa 

BBBaaaaa 

□BBBBaaa 

BaaaaBaa 

BBBBaaaB 

aaaaaaaa 

aaaaaaaa 

366 


□BBBBaaa 

BaaaaBaa 

BBBfli  BOB 

aaaaaaaa 

BBBaBaaa 

aaaaaaaa 

Baaaaaaa 

aaaaaaaa 

BaflaBBBB 
□aanaaBB 
□aaBBaa : 
□aaaaaaB 
aaBBBBaa 
BaaaBBBB 
□BBBBaBB 
□aaBBBaa 

aaaaaaaa 

aaaaaaaa 

□Baaaaaa 

aaaaaaaa 

BaaaaaBB 

□□□□aaaa 

□Baaaaaa 

□□□Baaaa 

BBBBaBBB 

aaBBBBaa 

BBBaBBBB 

□BBBBaaa 

BBaBBBBa 

BBBBaaaB 

aaBBBBaa 

BBaaaaaa 

BaaaaBBB 

□aaaaaBB 

□aaBBBaa 

□BUBGBBB 

aaBBBBaa 

aaaaBBBa 

□BBBBaBB 

□aaflBBfla 

□aBBBaaa 

BaaaaBaa 

BBBBaaaB 

aaaaaaaa 

BBBaBaaa 

aaaaaaaa 

BaaaaaaB 

aaaaaaaa 

BBBBaaaB 

BBBBBB 

BBBaiBBBB 

□BBBBaaa 

BBaBBBBa 

BBBBaaaB 

aaBBBBaa 

BBBaBaaa 

aaanaaaa 

aaaaaaaa 

□Baaaaaa 

aaaaaaaa 

Baaaaaaa 

□□□□aaaa 

□aaaaaBB 

□□□Bcaaa 

367 


368 


§70 


GLOSSARY  OF  WEAVES 


29 


WEAVES  COMPLETE  ON  16  ENDS— (Continued) 


□DBDDDBD 

BDDDBDDD 

□DBDDDDD 

BDDDDDDD 

□□□□□□BD 

□□□□BDDB 

□DBDDBDD 

BDDBDDBD 

□BDDBDDB 

□DBDDBDD 

■□□■□□■■ 

□■□□■■■■ 

□□■■■■an 

■BBBBBDD 

■■■■□□■□ 

■■□□■□□□ 

BBBBDDBD 

BBDDBDDB 

□DBDDBDD 

BDDBDDBD 

□BDDBDDB 

□DBDDBDD 

BDDBDDDD 

□BDDDDDD 

□□□□□□□a 

□□□□□■□□ 

□□□■□□□■ 

□■□□□■□□ 

□□□■□□■■ 

□■□□■■■■ 

□□■■■■■■ 

■BBBBBDD 

□BDDBDDB 

□DBDDBDD 

BDDBDDBB 

□BDDBBBB 

□□■■BIBB 

■■■■■■□□ 

■■■■□□■□ 

■BDDBDDD 

■DDDBDBD 

□□□□□□□□ 

□BDDDBDB 

■□□□□□□□ 

□□■□□□BD 

□■□□□□□□ 

■□□■□□□■ 

□DBDDDDD 

■□■□■■■□ 

□□□□■■■□ 

□■□■□■■■ 

□□□□□■■a 

□□■□■□■■ 

□□□□□□■■ 

□□□■□■□■ 

□□□□□□□a 

□□□□□□■□ 

□□□□■□□■ 

□DBDDBDD 

■□□■□□■□ 

□BDDBDDB 

□DBDDBDD 

BDDBDDBB 

□■□□■■■■ 

369 


□BDDBDDD 

□DBDDBDD 

■■□□■□□a 

■■■□■□□□ 

□■■□□■□□ 

□□■■□■□□ 

□□□■■□■□ 

■□□□■□■□ 

□BDDDBDB 

BDBBDDBB 

■■□■□□□■ 

■□■□■□□□ 

□■□■□■□□ 

□BDBBDBD 

□□BDBBDB 

□□■□■■■□ 

□□□BDBIB 

BDDBDDBB 

□□□□■□□■ 

□BDDBDDD 

■□□□□■□□ 

□□■□□■■□ 

□■□□□□■I 

□□□■□□■□ 

□□■□□□□■ 

□□□□BDDB 


■■□■□□□■ 

BDBDBnnn 

□BDBDBDD 

□BDBBDBD 

□□BDBBDB 

□□BDBBBD 

□DDBDBBB 

BDDBDDBB 

□□□□BDDB 

□BDDBDDD 

BDDDDBDD 

□DBDDBDD 

□BDDDDBD 

□DDBDDBD 

□DBDDDDB 

□□□□BDDB 

BDDBDDDD 

BDDDDBDD 

□BDDBDDD 

□BDDDDBD 

□DBDDBDD 

BDBDDDDB 

□BDBDDBD 

BDBBDDDD 

BBDBBDDB 

BBBDBDDD 

□BBBDBDD 

□DBBDBDD 

□□□BBDBD 

BDDDBBBD 

□BDDDBDB 

□DBDDDBB 


370 


WEAVES  COMPLETE  ON  20  ENDS 


□□□□ 

■■■■ 
■  ■□□ 
□□■■ 
■  ■■■ 
■  ■□□ 
□□■■ 
■  ■■■ 

■■□□!□□■■■■□□; 

□□■■ ■■□□□□■« 

■■■■□□□□■■■a 
■■□□■■■■□□□□ 
□□■■  ■■□□□□■■ 
■■■■  □□■■■■□□ 
■■□□■■■■□□□□ 
□□■■!■■□□■■■■ 

□□■■!■■□□■■■■! 

■■□□DDBBBBDD 
□□□□  ■■■■□□■■! 

■■■■Iddddbbbb 

□□■■■■□□ 

■■■■□□■■ 

■■□□■■■a 

DDBBBBDD 

■■■■□□■■ 

■BDDBBBB 

DDBBBBDD 

■■■■□□■■ 

■■□BBDBD 

■■□■■□■□ 

□■■□■□□■ 

□■■□■□□■ 

■□■□□■□a 

■□■□□■□■ 

■□□■□■■□ 

■□□■□■■□ 

■■■■□□□□ 

■BDDBBBB 

□□■■■■□□ 

■■■■□□■■ 

■■□□■■■a 

□□■■■■□□ 

■■■■□□■a 

■■□□■■■■ 

□■■□ 

□■■□ 

■□■■ 

■□■■ 

■■□■ 

■■□■ 

□■■□ 

□■■□ 

371 


□■■□ 

□■□■ 

■■□■ 

□□■□ 

■■□■ 

□■□■ 

■□■■ 

■□□□ 

□■■■ 

□□□■ 

■■■□ 

□□■□ 

■  ■□■ 
□■□■ 
■  □□■ 
■  ■■□ 

□  □■□! 

■  ■□□ 
■□■■; 

■□□□! 

■□□■□■□■ 

■□■□■■□□ 

■□■■□□■■ 

□■□□■■□■ 

■■□■■□□□ 

□■□□□■■□ 

■□■■□■□■ 

■□■□■■□■ 

■  BDBBDDD  ■■□□ 
■□■■□□■■  ■□□■ 
□■□□■■□□  ■□■■ 
□BBBDBBD  □■□□ 
■□□■BDDB  BBDB 
BBBDDBBD  BDBD 
□□■■□■□■  DDBB 
□BDDBBDB  ■■□□ 

■□■□■□□□ 

□■■□■■□■ 

□■□■□■□■ 

■□■■□□■□ 

BDBDBDBD 

□■□□■□■□ 

■■□■■■□■ 

□■■□□■□■ 

BDDBDDBD 

□BDBBDBB 

□BDBBBDD 

HBBDDDBB 

□□□BBDBD 

□BDBDBBD 

□■■□BDDB 

■□BDBBBD 

BDDBDDBD 

□□■■□■□■ 

■■□□■■□□ 

■□■■□■■■ 

372 


30 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  20  ENOS  — (Continued) 


■■□■■□HE 

■■■□□□■a 

bdddhbdb 

□DDBBDBB 

□BBDDDBB 

□BBDBBDD 

BDDDBBDB 

DDDB 

□  BBD 
□BBB 
BDBB 

BDBBDDDB 
□□BBDBBD 
B BDDDBBD 
BBDBBDDD 
□□□iBUBB 
BB1  )  SB 

jBB.jBB.r_. 
BDDDHBDB 

BDBBDDDB 
□□BBDBBD 
■BDDDBBB 
BQ  BB  BB 
□DDBBBDB 
L  BB  IBBBD 
□BBBDBBD 
BDBBBDDD 

BB  B 

BBBD 

□  BBD 
BDDD 

BDBB 

□  DBB 
BBDD 
BBDB 

BDBBDDDB 
DDBBDBB  . 

BB  BBB 

BB  BB  SB 
□DDBBBDB 
BB  BBB 
:  'BBB  _'BBU 
BDBBBDdd 

BBDBBDBB 

HBBDDDBfl 

□BBDBBDD 

BDDDBBDB 

BDBBDDDB 

□□BBDBBD 

BBDDDBBD 

BBDBBDDD 

DDDB 

DBBD 

DBBD 

BDDD 

BDBB 

□DBB 

BBDD 

BBDB 

BDBDBDBD 

DBDBDBDB 

B  B  B  a 

□BJBQB  .  B 

373 

BDBDBDBD 

□BDBBBDB 

BDBBBBBD 

□BDBBBDB 

BDBD 
□  BDB 
BDBD 
BBDB 

B'  DBDBDBD 
□  BI JE  JBDB 

B  !  B  B -| 

□BDB1  iB  "iB 
Bi  HBDBDBD 

DBDBDBDB 

BDBDBDBD 

BBB  B  B 

BDBDBDBB 

□BBBDBDB 

BBBBBDBD 

□BBBDBBB 

BDBDBBBB 

□BDBDBBB 

BDBDBDBD 

DBDBDBDB 

BBBD 

BBDB 

BDBD 

□  BDB 
BDBD 
DBDB 
BDBD 

□  BDB 

BBBBBDBD 
□  BBBI  <BBB 
B  B  BBSS 
BBDBDBBi 
BBB  B  B 
BBDBBBDB 
BDBBBBBD 
□BDBBBDB 

BDBDBDBD 
DBDBDBDB 
BDBDBDBD 
DBDBDBDB 
BDBDBi  ]BD 
DBDBDBDB 
BDBDBDBD 
DBDBDBDB 

BDBD 

□  BDB 
BDBD 

□  BDB 
BDBB 

□  BDB 
BDBD 

□  BDB 

BDBBDBBD 
HDBBDBBD 
BB  BB  BB 
HHDBHDHD 

375 

BBDBBDBD 

BDDBDBBD 

□BBDBDDB 

DBDBBDBB 

□BDB 

BBDB 

□BBD 

DBBD 

□HHDHHDH 

□HHDHDDH 

BDHHDHHD 

BDBDDBDB 

HHDBHDHD 

HDDHDaHD 

□BBDBDDB 

□BDBBDBB 

BDBDDBDB 
□BBDBBDB 
BDDB1  jBBD 

HDBBDBBD 

□BDBBDBB 

BBDBBDBB 

□BBDBBDB 

□BBDBBDB 

BDBB 

BDBB 

BBDB 
BBDB 
□  BBD 
DBBD 
BDBB 
BDBD 

HDHDDHDH 
□HHDHHDH 
Bi  1DHDHOD 

HDBBDBBD 
B  BB  BB 
■BDBBDBB 
□BBDBBDB 
□BBDBBDB 

HDBBDBBD 
B  JBBDBBD 
BBDBBDBB 
BBDBBDBD 
□BBDBBDB 
□BBDBDDB 
BDBBDBBD 
BDBDDBDB 

BBDB 

HIDDB 

□  BBD 

□  BDB 
BDBD 

□  BBD 
BGGB 
BDBB 

DDBBDDBD 

BDBDBBDD 

BBDDBDBD 

BDBBDDBB 

BDBBDDBB 

BBDBDBDD 

BBDDBBDB 

□BDBDDBB 

□BDB 

BBDD 

□BDD 

□DBD 

□DBDBDBB 

BBDDBBDB 

BDBDBBDD 

□DBBDBDB 

BDBBDDBB 

BBDBDBDD 

BBDDBBDB 

□BDBDDBB 

□DBBDBDB 

□BDDBBDD 

BBDBDBDD 

DDBBDDBD 

□BDBDDBB 

BBDDBDBD 

□BDDBBDD 

□DBDBDBB 

□DBB 

BDBD 

BBDD 

BDBB 

□  DBD 

BBDD 

BDBD 

□DBB 

□DBBDBDB 

□BDDBBDD 

BBDBDBDD 

DDBBDDBD 

DBDBDDBB 

BBDDBDBD 

□BDDBBDD 

□DBDBDBB 

DDBBDDBD 

BDBDBBDD 

BBDDBDBD 

BDBBDDBB 

□DBDBDBB 

BBDDBBDB 

BDBDBBDD 

□DBBDBDB 

BDBB 

BBDB 

BBDD 

□BDB 

□DBB 

□BDD 

BBDB 

□DBB 

DDDBDDDB 

BDDDBBDB 

□BDDDBDD 

□□BBDBBD 

374 

DDDBDDDB 

BDDDBDDD 

□BDDDBBD 

□DBDDDBD 

BDBB 

BDDD 

BBDD 

□DBD 

B  B 

BBDBBDDD 

□BDDDBDD 

□BBDDDBD 

DDDBDDDB 

BDDDBDDD 

□BDDDBBD 

□DBDDDBD 

□DDBBDBB 

BDDDBDDD 

□BBDBBDD 

□DBDDDBD 

BDBBDDDB 

BDDDBDDD 

BBDDDBDD 

□DBDDDBB 

DDDB 
BDDD 
□  BDD\ 

□DBB 

DDDB 

BBDB 

□BDD 

□BBD 

□DDBBDBB 

BDDDBDDD 

□BBDBBDD 

□DBDDDBD 

BDBBDDDB 

BDDDBDDD 

BBDDDBDD 

□DBDDDBB 

DDDBDDDB 

BDDDBBDB 

□BDDDBDD 

□□BBDBBD 

DDDBDDDB 

BBDBBDDD 

□BDDDBDD 

□BBDDDBD 

DDDB 

BDDD 

□  BDD 
□DBD 
DDDB 
BDDD 

□  BBD 
□DBD 

□□BBDBBD 

BDDBDDBB 

BBDBBDBB 

□BDDBBDB 

376 

BBDDBDDB 

□BBDBBDD 

□DBDDBDD 

BDBBDDBD 

DDDB 

BDDD 

□BDD 

□DBD 

□BBDBBDD 

□□BBDBBD 

■DBBDDBD 

BBDBBDBB 

BBDDBDDB 

□BBDBBDD 

□DBDDBDD 

BDBBDDBD 

BDDBDDDB 

BBDDBDDD 

□BDDDBDD 

□DBDDDBD 

□DDBDDBB 

BDDDBDDB 

□BDDBBDB 

□DBDDBDD 

□DBB 

BDDB 

BBDB 

□BDD 

□BBD 

□DBB 

BDBB 

BBDB 

BDDBDDDB 

BBDDBDDD 

□BDDDBDD 

□DBDDDBD 

□DDBDDBB 

BDDDBDDB 

□BDDBBDB 

□DBDDBDD 

□□BBDBBD 

BDDBDDBB 

BBDBBDBB 

□BDDBBDB 

□BBDBBDD 

□□BBDBBD 

BDBBDDBD 

BBDBBDBB 

BBDD 

□BAD 

□DBD 

BDBB 

BDDB 

BBDD 

□BDD 

□DBD 

377 


378 


0 


GLOSSARY  OF  WEAVES 


31 


WEAVES  COMPLETE  ON  20  ENOS— (Continued) 


anannnan 

□aannana 

Baananan 

□□□annna 

anna 

□□□a 

anan 

□ann 

anannann 

aanaanna 

□□□□anna 

□annnnan 

□nannaan 

□□□□anna 

anaannan 

□anannaa 

anna 

□ann 

anna 

□ann 

a  aaa  a  : 

aananann 

a  aaa 
□Baanma 
aannanaa 

a  ABB 

□nannnan 

□ananaaB 

□nan 

□ana 

annn 

□□□a 

anan 

□ann 

as  an 

□□□a 

□aanaann 

annanaan 

□nananna 

□naanaan 

□annnnan 

annaannn 

annaanaa 

□□annana 

anannann 

aanaanna 

□□□□anna 

□annnnan 

□aanaann 

annanann 

□nananna 

□naanaan 

□nan 

□□□□ 

anaa 

□ana 

anan 

aana 

□□□□ 

□ann 

aaanannn 

□■■■□□□a 

aannanan 

□□□aaaaa 

aaannnan 

□aannana 

□□anannn 

□ananana 

annnanan 

□nnanann 

anas 

a  ann 

□nan 

□BBB 

annn 

□ana 

□nan 

□ana 

aannanan 

□annaana 

annannnn 

□aannann 

□nannaan 

□□□□anna 

anaannan 

□Baannaa 

□annnnan 

annannnn 

annaanaa 

□□annana 

aannanan 

□annaana 

annannnn 

□aannann 

naan 

anna 

□nan 

□naa 

□ann 

anna 

anna 

□nan 

□□■□□■□a 

□ananana 

379 

□nannnan 
□annanna 
annanam 
□am  ianna 

□nan 

□ana 

annn 

□nan 

aanannaa 

aananaaB 

aannaBan 

□anBaana 

380 

anBaanaa 

□BaanaaB 

BaanBaan 

aanBaann 

anan 

□nan 

anaa 

anaa 

□□adman 

□annaana 

Bananam 

□aaDBana 

□□aaman 

□ananana 

anDnanan 

□□annana 

□nannnan 

□ananana 

annnanan 

□aannana 

□anannan 

□□annana 

annnanna 

□ananann 

□ana 

□nan 

annn 

□ana 

□nan 

anna 

□ann 

anna 

□nan 

□ana 

annn 

□ana 

□nan 

□ann 

anna 

□ann 

BBB  BB 
□BaanaaB 
bbb  aaan 
aanaiana 

B  BBBIBf] 

□BaanaaB 

BaanBaan 

aanflaann 

anaBanan 

□Baannan 

Baananaa 

aannanaa 

ananaana 

nnanaana 

anaanann 

anaanana 

aana 

aana 

□ann 

□ana 

□naa 

□BBB 

aaan 

aana 

□anaman 

□□annana 

Bandanna 

□ananann 

□nannnan 

annaaaaa 

□aanaann 

anaannan 

□nannnan 

aananana 

□annanna 

annanaan 

□□annana 

□anannan 

annnannn 

□ananana 

anaBanan 

□Baannan 

Baananaa 

aannanaa 

ananaana 

□nanaana 

anaanann 

anaanana 

aanannaa 

aananaaB 

□Bnnaaau 

□anBaana 

□□Baanaa 

□BBBnaaa 

BaanBaan 

BBnaaana 

anaa 

□BBB 

aaan 

aana 

anaa 

□aaa 

aaan 

aann 

aananaan 

□□BBaann 

□□□Banna 

BBBBnnna 

381 

□anaanan 

□anaanan 

□aanannn 

□aananaa 

□naa 

naan 

BBBB 

annn 

anaannaa 

aananana 

aananaan 

□ananaaB 

382 

anaBanan 

aanBaann 

BBBGB'JBU 

□Baannaa 

anaa 

aana 

aaan 

□BBB 

□aannana 

aananana 

annanaan 

□nnanaan 

□anaanan 

□anaanaa 

□aanaann 

□aananaa 

anaannaa 

anannaan 

Bnnnaaaa 

annaannn 

□□BBaann 

□Baannaa 

BBflsnnna 

annnaBBB 

aann 

□naa 

□□□a 

BBBB 

naan 

aann 

anna 

□□□a 

□nnaanaa 

□anBaana 

□aanBaan 

□flaanaan 

anaBanan 

aanaanna 

Baananan 

□Baannaa 

Baananaa 

ananaana 

ananaBan 

□naanaaB 

anBaanaa 

aanaaBna 

Baanaann 

□Baanana 

anaa 

aana 

aann 

□ana 

□□□a 

□ana 

naan 

□BBB 

anannaaB 

BBaanana 

□aanaana 

□□Baanna 

□□□BBOBD 

aannaBan 

□□□□naan 

■BBB07BB 

aannaBan 

□□BBaann 

□nnaanna 

BBaanana 

□Bannana 

aananana 

annanaan 

□nnanaan 

□ana 

□ana 

naan 

naan 

anan 

anan 

annn 

anna 

anananaa 

ananaana 

ananaaan 

□naanaaB 

anBaanaa 

BBBBB  B 

Baanaann 

□Baanana 

anBaanna 

aananana 

Baannaan 

□ananaaB 

□nnaanaa 

□anBaana 

□aanaBBa 

□Baanaan 

anaa 

aana 

BBB!  i 

naan 

anan 

annn 

anan 

□naa 

383 


384 


32 


GLOSSARY  OF  WEAVES 


70 


WEAVES  COMPLETE  ON  20  ENOS— (Continued) 


aananann 

□naannaa 

nnnannan 

aannaana 

anan 

□ana 

anas 

nann 

■□■■□□□a 

□annannn 

Baumann 

nnannnaa 

nnnannan 

aannaana 

nannanan 

□naanana 

□nananaa 

aananann 

ananaann 

□anannaa 

anaannan 

□annaana 

aann 

□naa 

□nan 

aann 

anan 

□ana 

anaa 

nann 

nannanan 

□naanana 

□nananaa 

aananann 

ananaann 

□a(  uanna a 

anaannan 

□annaana 

aannanan 

□naanana 

□nananaa 

aananann 

ananaann 

nanannan 

anaanana 

□annannn 

aann 

□nan 

□□□a 

annn 

nann 

□naa 

□nan 

aana 

aannaana 

□aannaaB 

annaanna 

□naanaan 

385 

aanaanna 

□naannaa 

aannaann 

□aannaaB 

anna 

naan 

aana 

□naa 

aannaana 
□aainnss 
annaaann 
naannaan 
aanaanna 
□naannaa 
aannaann 
naan  ,aaa 

annaanna 

□naanaan 

aannaana 

□BBannaa 

annaBann 

naannaan 

aanaanna 

□naannaa 

aann 

naan 

anna 

nnaa 

aann 

□  ABB 

anna 

naan 

annaanna 
□naanaan 
aannaana 
naBBLl:  BB 
annaBann 

naant  aa: 

IB  IB  B 

□naannaa 

aannaann 

□aannaaB 

annaanna 

□naanaan 

aannaana 

□Baannaa 

annaBann 

naannaan 

aana 

□naa 

aann 

naan 

anna 

□naa 

aann 

□  BBB 

387 


□ana 

aann 

□□□a 

aana 

aann 

□naa 

BBBB 

annn 

nnnannaa 

□aanaann 

□annaana 

anaannan 

naan 

annn 

anaa 

□□□a 

anannnna 

BBB  BB 

annnnann 

Banaanaa 

□nnannaa 

□aanaann 

□annaana 

anaannan 

□naanaan 

aannannn 

aanaanaa 

□□annnna 

□Banaana 

annnnana 

anaBnaan 

□nnanaan 

aana 

□ana 

naan 

naan 

anan 

anaa 

annn 

aana 

□□Banaan 

aannaann 

Banaanaa 

□□annnna 

□aanaana 

annnnana 

bbbhb: 

eanaanan 

□anaanaa 

□aanaann 

□Banaana 

anannnna 

anaanaan 

annnnann 

□□□a 

naan 

nann 

anaa 

□naa 

aana 

aana 

□nan 

nann 

nann 

anna 

anna 

aaan 

naan 

BBflfl 

anna 

386 

□□aannnn 

□□□□aann 

aanannaa 

□naannaa 

aaan 

aaan 

anaa 

anna 

sannnnaa 

□□aannnn 

□□□□aann 

Bannanaa 

□□aannnn 

□□□□aann 

aanannaa 

□naannaa 

■aannaan 

ainnaaaa 

aaaaanna 

□naannaa 

□□aaflaan 

□annaann 

□annaaBa 

aana 

□bbb 

naan 

aann 

aann 

□naa 

□□□□ 

aann 

□□□□Baan 

aannfsaan 
□□bbb  .aa 

□□Baanna 

flaanaana 

aiaanaafl 

anaanaaB 

■nmaann 

bb.'jbbb  ' : 
□Baannaa 

□aaannnn 

aannaann 

aanannaa 

□□aannnn 

□□□□aann 

aanannaa 

□naa 

□□□□ 

aann 

□naa 

□□□□ 

aann 

□naa 

□naa 

388 


aannaasa 

aanaaaan 

□nnaffiaan 

□aaaannn 

anBaanna 

□□BBaann 

Baannann 

BBaannaa 

BBBB 

anaa 

□naa 

naan 

:  bbbb  aa 
BBaannaa 
Bil  bbb 
annnaBBa 

a  Baan:  .a 
□naBaann 

Baannann 

bbbb  a 

anaannaa 

aannanna 

□BnnaaaB 

□nannaBB 

□naBaann 

BanaBBaa 

BBaannaa 

□BaanaBB 

aann 

aana 

□□□a 

□  BBB 
□BBB 

aaan 

Baan 

annn 

aanannaa 

aannanna 

□annaaBa 

□□annaaa 

□naBaann 

anoBaana 

BBaannaa 

□BaanaBB 

BBannaaa 

aanaBaan 

□nnaBaan 

naaaannn 

□BiHanaa 

BBaannaa 

BaanaaBn 

aannaaBB 

anaa 

□naa 

aaan 

BBBB 

anna 

aann 

nann 

□nan 

389 


§70 


GLOSSARY  OF  WEAVES 


33 


WEAVES  COMPLETE  ON  24  ENDS 


391 


393 


□DDBDDBD 

□BDDBDDD 

BBBDDDBD 

□BBBDBBB 

DDBDDDBB 

BDDDBDDB 

□DBDDBDD 

□BBBDDDB 

□DBBBDBB 

BDDBDDDB 

□BDDDBDD 

□DDBDDBD 

BDBBBDDD 

□DDBBBDB 

□BDDBDDD 

□DBDDDBD 

BDDDBDDB 

BBDBBBDD 

BDDDBBBD 

□DBDDBDD 

BDDBDDDB 

BBDDDBDD 

BBBDBBBD 

□BDDDBBB 

BDDDBDDB 

DDBDDDBB 

□BBBDBBB 

BBBDDDBD 

□BDDBDDD 

□DDBDDBD 

□BDDDBBB 

BBBDBBBD! 

□DBBBDBB 

BDDBDDDB 

□BDDDBDD 

□DDBDDBD 

BDBBBDDD 

□DDBBBDB 

□BDDBDDD 

□DBDDDBD 

□DDBBBDB 

BDBBBDDD 

□DDBDDBD 

□  BDDDBDD! 

BDDBDDDB! 

□DBBBDBB. 

□  BBBDDDB! 
□DBDDBDD' 

BDDDBDDB 

BBDBBBDD 

BDDDBBBD 

□DBDDBDD 

BDDBDDDB 

BBDDDBDD 

BBBDBBBD 

□BDDDBBB 

□DDBDDBD 

□BDDBDDD 

BBBDDDBD 

□BBBDBBB 

DDBDDDBB 

BDDDBDDB 

□DBDDBDD 

□BBBDDDB 

□DDBDDBD 

□BDDDBDD 

BDDBDDDB 

□DBBBDBB 

□BBBDDDB 

□DBDDBDD 

BDDDBDDB 

□DBDDDBBI 

392 


■□■□■■□■«□□■□□■■ 
□BDBDBDB  □■■□■■□□ 
BBDBBDBD  ■□■□■□■■ 
□□■□□■■□  ■■□■□■□■ 
BB  BB  B  .  BB  BB 
□BDBDBBD BBDDBDDB 
■□■□■□■□  ■□■■□■■□ 
□bbdbbdbIdbdbdbdb 

BDBBDDBD 

□BDDBBDB 

BDBBDBDB 

BDBDBDBD 

□BDBBDBB 

□BBDDBDD 

BDDBBDBB 

□BBDBDBD 

□BBDBBDB 

BDBDBDBD 

□BDBDBBD 

BBDBBDDB 

□□BDDBBD 

BBDBBDBD 

□BDBDBDB 

BDBDBBDB 

BDBBDDBD 

□BDDBBDB 

BDBBDBDB 

BDBDBDBD 

□BDBBDBB 

□BBDDBDD 

BDDBBDBB 

□BBDBDBD 

□BDBDBDB 

BDBBDBBD 

BBDDBDDB 

□DBBDBBD 

BBDBDBDB 

BDBDBDBB 

DBBDBBDD 

BDDBDDBB 

BDBBDDBD 
□BDDBBDB 
■DBBDBDB 
BDBDBDBD 
□BDBBDBB 
□BBDDBDD 
B  BB  BB 
□BBDBDBD 

□BBDBBDB 

BDBDBDBD 

□BDBDBBD 

BBDBBDDB 

□□BDDBBD 

BBDBBDBD 

□BDBDBDB 

BDBDBBDB 

□BDHDBDB 

BDBBDBBD 

BBDDBDDB 

□DBBDBBD 

BBDBDBDB 

BDBDBDBB 

DBBDBBDD 

BDDBDDBB 

■□□□ 
□DBBDDDB 

□□□□□■□□ 

□DBBBDDD 

□■□□□□□■ 

BBDDDBBD 

□DDDBDDB 

■□□□□□■□ 

□□■□□□□□ 


□■■■□□□a 

■□□□□□■□ 

□□■□□□□□ 


■■□□□ 
□□■■□□□a 

□DBBDDBD 

□bddbbdd 

bdddbbdd 

□DDBDDBB 

BBBDDDBB 

□DDDDBDD 

□DBBBDDD 

□BDDDDDB 

BDDDBBBD 

bddbdddd 

dbbdddbb 

□BBDDBDD 

bddbbddd 


□DDDDBDD 

□DBBBDDD 

□BDDDDDB 

BDDDBBBD 

BDDBDDDD 

□BBDDGBB 

□BBDDBDD 

■□□BRODD 


□DDBBDDB 

□□BDDBBD 

BBDDDBBD 

□DDDBDDB 

□BBBDDDB 

BDDDDDBD 

□DDBBBDD 

□DBDDDDD 

■BDDDBBB 

1IDDIGDG 
□□■■□□□■ 
□□■■□□■□ 
□■□□■■□□ 
■□□□■■□□ 
□□□BDDBB 
□□□BB 


390 


■  □□□ 

□BDDDDDB 

□DIBBBQB 

□□□□□BOB 

BBSS’  B 

□DDBDBDD 

BBDBDDBD 

□■□■□□□■ 

□BDDBDDD 

□BDDDBDD 

□DBDDDBD 

□DDBDDBD 

■□□□■□■□ 

□BDGBDBB 

□□■□■□□□ 

□DBDBBBB 

■DBDDDDD 

■□■■■■□□ 

■□□□□□■□ 

BBBBdDDB 

□□□□BDDD 

BBDDDBDD 

□□■□□□■■ 

□DDBDDDD 


□■□□BDDD 
□BDDDBDD 
□DBDDDBD 
□□□■□□HD 
■□□□■□■□ 
□BDDBDBB 
□□■□■□□□ 
□DBDBBBB 
■DBDDDDD 
BDBBBBDD 
BDDDDDBD 
BBBBDDDB 
□DDDBDDD 
BBDDDBDD 
□DBDDDB 
□DDBDDDD 


BDDD 
□BDDDDDB 

DDBBBBD 

□DDDDBD 

BBBBDBDD 

□DDBDBDD 

BBDBDDBD 

□BDBDDD 


DBDDDDD 

□BBBBDD 

□DDDDBD 

BBBDDDB 

□DDDBDDD 

BBDDDBDD 

DDBDDDBB 

□DDBDDDD 


BDDD 
□BDDDDDB 

□DBBBBDB 

□DDDDBDB 

BBBBDBDD 

□DDBDBDD 

BBDBDDBD 

□BDBDDDB 
□BDDBDDD 
□BDDDBDD 
□DBDDDBD 
□DDBDDBD 
BDDDBDBD 
□BDDBD 
□□BDBDDD 
□DBD 


92—4 


34 


GLOSSARY  OF  WEAVES 


§70 


WEAVES  COMPLETE  ON  24  ENDS— (Continued) 


■DDBHDDD 

□BBDDDBB 

□■□□□□□a 

□□□□□■□□ 

■BBDDDBB 

□□□■□□■■ 

■□□□■■□□ 

□BDDBBDD 

□□BBDDBD 

□□BBDDDB 

BBDDBDDD 

BBDDDBBB 

□DBDDDDD 

□□□BBBDD 

■□□□□□■□ 

□■BBDDDB 

■□□□■■■□ 

□■□□□□□■ 

□□□□□■□□ 

BBBDDDBB 

□□□■□□■a 

□□■■□□■□ 

□□■■□□□■ 

■■□□■□□□ 

iBGDGBBB 

□□■□□□□□ 

□□□■■■□□ 

■□□□□□■□ 

□■BBDDDB 

□□□□■□□■ 

BBDDDBBD 

□DBDDBBD 

□□□BBDDB 

■DDBBDDD 

□BBDDBDD 

□BBDDDBB 

BDDBDDDD 

■■□□□■BB 

□□■□□□□□ 

■□□□□□■□ 

□■■■□□□a 

□□□□■□□■ 

BBDDDBBD 

□(  'iB'J'ZlBBL 
□□□■■□□■ 
■□□■■□□□ 
□BBDDBDD 

□BBDDDBB 

■□□■□□□□ 

BDDDBBBD 

dbdddddb 

□DBBBDDD 

□DDDDBDD 

BBBDDDBB 

□□□BDDBB 

BDDDBBDD 

□BDDBBDD 

394 

□BBBDDBB 

■BGUiDHB 

■BDD9BQB 

□□BDBBDD 

ddbbdbdd 

■□■■□□■■ 

bbdbddbb 

bbddsssd 

□BDDBBDB 

□□BBBDDB 
□□■■□■■□ 
■■■□□■■■ 
&■  BB  a 
1GD1BMD 
□■■□□BBB 
□EBBBDDB 

■□□■■■■□ 

■■■□□■■□ 
■  ■■■  j.  iB 
■□□■■□■■ 
■■■□□■■■ 
□■■□■■□□ 
■□□■■■□□ 
SDBBDDBD 

□HDDBBDH 
□□BHBDDB 
□DBBDBBD 
BBB  .  BBB 
■■□■■□□■ 
BDDBBBBD 
DBBD  JBBB 
□■■■■□□■ 

■□□■■■■□ 
■BBDDBBD 
□■BBBDDB 
B  BB  BB 

BBBDDBBB 
□■■□■■□□ 
■□□BBBDD 
iDBBDDBD 

■■■□□■■□ 

■■□□□■■■ 

□□■■■□□■ 

□■■■□□□■ 

■□□□■■■□ 

■□□■■■□□ 

■■■□□□Hi 

□■■□□■■■ 

BDDHS®iD 
BBB  89 
IBBB  j  fl 
■□□■■□BB 
BBB  JBBB 
□BHDBBDD 
|SDDBBBDD 

Ihdbbddbd 

□■■■□□BB 

■BDDBDBB 

■■□□■■□■ 

□□■□■■□□ 

□□■■□■□□ 

■□■BDDBB 

BBDBDDBB 

■■□□■■■□ 

□■□□■■□■ 

□□■■■□□■ 
□□■■□■■□ 
BBBDDBBB 
■■□BBDDB 
a □□■■■■□ 
□■■□□■BB 

□■■■■□□a 

396 


■■□■■■□■ 
B.  iBBB'-'BB 

□□■■□■■■ 

□■■□■■■□ 

■□□□■■□■ 

□□□■■□■■ 

□□■□□□BB 

□BDDDBBD 

■DBBBDBB 
BB  BBB  B 
BBBDBBBD 
□BBBDBBB 
■□BBBDDB 
BBDBBBDD 
HBBDDBDD 
□■BBDDBD 

BDDBDDDB 

■■□□■□□□ 

□BDDDBDD 

□DBDDDBD 

□□□■□□□■ 

■□□□■□□□ 

□BDDDBDD 

□DBDDDBD 

B  BBB  BB 
BBQBBBDB 
■BB  BBB. 
□BBBDBBB 
B  BBB  ■ 
■■□■■■□□ 
■BBDDBDD 
□■BBDDBD 

BDDBDDDB 

BBDDBDDD 

□BDDDBDD 

□DBDDDBD 

□□□■□□□B 

■□□□■□□□ 

□BDDDBDD 

□DBDDDBD 

□□□■□□■■ 

■□□□■□□■ 

□■□□■■■□ 

□□■□□■■■ 

□□■■■□BB 

■□□■■■□a 

■BBDBBBD 

□BBBDBBB 

BDDBDDDB 

BBDDBDDD 

□BDDDBDD 

□□■□□□■□ 

□□□■□□□■ 

■□□□■□□□ 

□BDDDBDD 

l□□B□□□B□ 

□□□■□□■■ 

■□□□■□□B 

□BDDBBBD 

□□■□□BBB 

BBB  BB 
BDDBBBDB 
■BBDBBBD 
□■■■□BBB 

■DBBBDBB 

■B  BBB  B 

■  HDBBBD 
□■■■□■BB 
|BL  ■■■  -DB 
BBDBBBDD 

■BBDDBDD 

!□■■■□□■□ 

395 


■■■□■■□□ 

■■■□□■■□ 

■BBDDDBB 

□□□■■■□■ 

□□□■■■□□ 

□□□■■■□■ 

■BBDDDBB 

■■■□□■■□ 

□■■■□□□■ 

□■■■□□□■ 

□■■■□□□■ 

■□□□■■■□ 

■■□□■■■□ 

□BBDBBBD 

□□■■□□□■ 

□□□■■□■■ 

■■□■□■■□ 

■BDDBBDD 

■■□■■□□□ 

□□■■□■■■ 

□■■□□■■■ 

■■□□□■■■ 

■□■■■□□□ 

□□■■■□□□ 

□□□■■□□■ 

□□■■□□□■ 

■□■□■■■□ 

■■□□■■■□ 

□BBDBBBD 

■□■■□□□■ 

■□□■■□□■ 

■□□□■■□■ 

□■■■□□□■ 

■□□□■■■□ 

■■□□■■■□ 

□BBDBBBD 

□□■■□□□■ 

□□□■■□■B 

□□□□DBBD 

□DDDBBDB 

□□■■■□□□ 

■■□□□■■■ 

BBDDDBBB 

■■□□□■■■ 

□□■■■□□□ 

□□■■■□□B 

□DBBBDBB 

BBDDDBBD 

■■■□□□■■ 

BBBDDDBB 

□□□■■■□□ 

■□□BBBDD 

■■□■■■□□ 

□BBDDDBB 

■□■■□□■B 

□□□■■□BB 

bddbbddb 

■DDDBBDB 

DBBBDBBD 

□BBBDDBB 

□BBBDDDB 

BDDDBBBD 

BDDDBBBD 

BDDDBBBD 

□□■BDDBB 

□■■□■□■■ 

■BDDBBDD 

■□□□□■■□ 

□□□□□□■■ 

□□□□□□□■ 

■□□□□■■□ 

■BDDBBDD 

397 


§70 


GLOSSARY  OF  WEAVES 


35 


WEAVES  COMPLETE  ON  24  ENDS— (Continued) 


□■■■■□□■ 

PDBBBBBD 

UiDDBBBBD 

□■■□■■■a 

□■■□□in 

■□□■□□■■ 

BDDBBDDB 

□■■■■□■□ 

■□□■■■■□ 

□BBDBBBB 

□BBDDBBB 

BDDBBDBB 

BDDBBDDB 

□BBDDBDD 

□BBDDBBD 

BDDBBBBD 

BDDBBDDB 

BDDBBDDB! 

BBBDDBBD 

BBBDDBBD 

iIBBBDDB 

□BBBBDDB 

□□■■■■■□ 

□■■■■□DO 

■■■■□HDD 

S98DDQDB 

SBDDBBBD 

^□□BBBBB 

□BBDDBBB 

□■■□□■■■ 

■□□■■□□■ 

□BBDDBBD 

BDDBBDDB 

BDDBBDDB 

BBBDDBBD 

■BBDDBBD 

■■■■■□DB 

□■■■□□■■ 

■□□□□■■■ 

■□□■■■■□ 

□BBDDBBB 

□BBDDBBB 

■□□■■□□■ 

□BBDDBBD 

■□□■■□□■ 

□BBDDBBD 

□■■□□■■□ 

BCIDABLOB 

■□□■■□□■ 

□BBDDBBB 

□BBDDBBB 

■■■■□■■□ 

□■■■■□□■ 

□■■■■■□□ 

■□□■■■■a 

□BBDDBBB 

□BBDDBBB 

BDDBBDDB 

■BBDDBBD 

□□□■□■■■ 

□■□□□■■■ 

■DDDBDBB 

■□■□□□□■ 

■□□■■■□□ 

□□■■■■■□ 

□■■■■□□■ 

□DBSDSES 

■■□□□□aa 

BBDBIBDB 

□□□□■■□■ 

□BBBDBDB 

□DBBDBBH 

BBDBDBBD 

■BDBBBDB 

□BDBHDHD 

DISlDiDB 

□■■□■□■■ 

BBDBDBBD 

HDBDBBSD 

□■□■■□■□ 

■DBBBDBB 

□BBDBDBH 

ESBBDBBDD 

HDBDBBBD 

■□■■□□□□ 

£□■■■□■■ 

HBDDDDBB 

■■■□■HDD 

□□□□■■□■ 

HDBBDDDD 

□BDBBDBD 

□BBBDBDB 

□BBDBDBH 

BBDBDBBD 

9DBDBBBD 

□■□■■□■□ 

■DBBBDBB 

□BBDBDBH 

SBHDBBDD 

BDBDBBBD 

HDBBDDDD 

HDBIBDBB 

■■□□□□■■ 

■IIDBIDD 

DDDDBBDB 

HDBBDDDD 

■■□□□■■□ 

■□■■■■■■ 

□□■■□□□■ 

■□■□■■■■ 

■□□□■HDD 

□BBDBDBH 

□BBDDDBB 

■■■□■■DD 

■□■□■■■□ 

■□■■□□□□ 

■DBBHDBB 

■■□□□□■■ 

■■■□■■□□ 

□□□□■■□■ 

■□■■□□□□ 

DDBBDHBH 

■■□□□□■■ 

■BDBBBDB 

□□□□■■□■ 

□■■■□BDB 

□□■■□■■■ 

■■□■□■■□ 

■■□■■■□■ 

□BBDDDBB 

BDBBBBBH 

□BDBBDDD 

BDBDBBBB 

BBDBDBBD 

□BBDBDBB 

■BBBDBDB 

□DDBBDBD 

398  399 


□DBIB9IB 

□BBBBBBD 

BDDDBBBB 

BDDBBBBB 

□BBDDDBB 

□BBDDBBB 

BBDBBDDD 

BBDBBDDB 

■□□■■■■■ 

■BBDDBBB 

■■□□■■■a 

■■■■□□■■ 

□BBBBBBD 

BBBBBBDD 

BBBBBBDD 

■BBBDBDD 

BBBfSDDBB 

BBDBDDHB 

■BDDBHDD 

□■□□■■■B 

□□■■□DBS 

□□■■■■□□ 

BBBBBBDD 

BBBBDDBH 

BBDBBDBB 

BBDBBBB 

□BBDBBBB 

□□■■■■■■ 

■□■■■■□■ 

□DDBBBBB 

□□■■■■■■ 

■■□□□■■■ 

■■□□■■■■ 

■□■■□□□■ 

■□■■□□■a 

□■■□■■□□ 

□■■□■■□□ 

■■□□■■DD 

BBSBDDBD 

□□■■□□■a 

■  ■□□■□■S3 

■■□□■■■a 

□□■□■■■B 

□DBBBHBB 

■□■■■■□■ 

■■■■■■□□ 

■■■■□■□□ 

■■■■□□■■ 

■■□■□□■■ 

■■□□■■□□ 

□■□□■■■■ 

□□■■□□■■ 

□□■■■■□□ 

■■□□■■□□ 

■■■■□□■□ 

□□■■□□■■ 

■■□□■□■■ 

■■□□■■■■ 

□□■□■■■■ 

□□■■■■■■ 

■□■■■■□■ 

■■■■■HDD 

■■■■□■■□ 

■■■■□□■■ 

BBDBBDBB 

■■□□■■■■ 

□■■□■■■a 

□□■■■■■a 

■□■■■■□■ 

400 


ELEMENTARY  TEXTILE 
DESIGNING 


FUNDAMENTAL  PRINCIPLES  OF 
DESIGNING 


INTRODUCTION 

1.  In  the  manufacture  of  textile  fabrics,  other  than  plain, 
standard  goods,  no  branch  of  the  business  is  more  important 
than  that  of  designing,  nor  does  anything  affect  the  desir¬ 
ability  and  selling  qualities  of  a  fabric  more  than  the  design. 
The  material  may  be  costly,  the  yarn  perfect,  and  the  weav¬ 
ing  and  finishing  well  executed,  but  if  the  design  is  not  well 
conceived,  or  is  not  adapted  to  the  purpose  for  which  the 
cloth  is  intended,  the  fabric  will  be  inferior.  The  designing 
of  a  textile  fabric  is  an  operation  peculiar  to  itself  and  some¬ 
what  foreign  to  the  general  conception  of  the  term  designing, 
in  that  the  actual  construction  of  the  fabric  must  be  consid¬ 
ered  in  order  to  obtain  the  desired  effect,  or  design,  on  its 
face.  In  order  that  the  best  methods  of  manufacturing  any 
class  of  goods  may  be  intelligently  understood,  it  is  first 
of  all  essential  to  acquire  a  thorough  knowledge  of  woven 
fabrics,  since  if  the  results  obtained,  or  in  other  words  the 
finished  cloths,  are  not  understood,  it  is  unreasonable  to  sup¬ 
pose  that  the  reasons  for  the  processes  through  which  the 
yarns  pass  before  becoming  cloth  can  be  intelligently  com¬ 
prehended.  The  person  who  can  take  a  small  sample  of 
cloth  and  reproduce  it  in  the  loom  or  who  can  originate  a 

For  notice  of  copyright,  see  page  immediately  following  the  title  page 

2  71 


2 


ELEMENTARY  TEXTILE  DESIGNING  §71 


design  of  merit  with  only  the  necessary  yarns  and  mecha¬ 
nisms  with  which  to  work,  even  if  this  work  is  not  in  his 
direct  line,  has  a  great  advantage  over  a  person  who  cannot. 
Designing  may  be  said  to  be  as  old  as  weaving,  since  no 
cloth  can  be  produced  unless  the  manner  in  which  the  ends 
are  drawn  through  the  harnesses,  the  order  of  raising  the 
harnesses,  and  the  order  of  interlacing  these  ends  with  the 
filling  are  known. 

Cloth  analysis,  or  the  process  of  finding  the  method  of 
construction  employed  in  a  fabric,  and  designing,  which 
strictly  speaking,  is  the  process  of  originating  new  fabrics, 
are  studies  that  are  closely  allied,  and  the  benefit  derived 
from  a  close  study  of  the  structure  of  the  various  fabrics 
frequently  met  with  cannot  be  overestimated. 


WEAVE 

2.  Construction  of  Fabrics. — All  woven  fabrics  are 
constructed  of  two  series  of  yarns;  namely,  the  warp ,  which 
is  the  system  of  parallel  threads  running  lengthwise  of  the 
goods,  and  the  filling ,  which  is  the  system  of  parallel  threads 
running  across  the  cloth  at  right  angles  to  the  warp.  A  single 
thread  of  the  warp  is  known  as  a  warp  end ,  or  simply  an  end , 
and  a  single  thread  of  the  filling  is  known  as  a  pick.  By  the 
weaving  process  the  picks  of  the  filling  are  interlaced  with 
the  ends  of  the  warp  so  as  to  produce  a  woven  fabric  of  a 
texture  depending,  to  a  great  extent,  on  the  method  of 
interlacing. 

3.  Plain  Weave. — The  simplest  method  of  interlacing 
the  warp  and  filling  is  by  that  system  known  as  plain  weave. 
Fig.  1  is  a  diagrammatic  view  of  a  plain  woven  fabric,  in 
which  the  threads  shown  in  a  vertical  position  are  the  warp 
ends,  while  those  running  from  side  to  side  are  the  picks  of 
filling.  If  this  diagram  is  examined  closely,  it  will  be 
noticed  that  one  pick  of  filling  is  over  all  the  odd-numbered 
ends  of  the  warp  and  under  all  the  even-numbered  ends, 
while  the  next  pick  of  filling  interlaces  with  the  warp  ends  in 
reverse  order.  This  method  of  interlacing  the  warp  and 


71  ELEMENTARY  TEXTILE  DESIGNING 


3 


filling  is  the  simplest  that  can  be  devised,  and  is  therefore 
called  the  plain  weave. 

It  should  be  understood,  however,  that  the  interlacing  of 
the  warp  and  filling  is  not  the  same  in  all  cloths;  in  fact,  it  is 
by  changing  the  manner  of  this  interlacing  that  different 
effects  are  formed. 

4.  Design  Paper. — Since  there  are  many  methods  of 
interlacing  the  warp  and  filling,  some  system  must  be 
employed  to  represent  these  methods,  or  weaves ,  on  paper. 


Fig.  1 

The  one  universally  used  employs  an  especially  ruled  paper, 
shown  in  Fig.  2,  known  as  design  paper.  It  is  made  in 
several  styles  but  the  kind  commonly  used  is  shown  at  (a); 
the  others  are  used  in  special  cases.  The  common  form  of 
design  paper  is  divided  by  heavy  lines  into  blocks  of  eight 
rows  of  squares  each  way.  Each  vertical  row  of  squares  of 
the  design  paper  represents  a  warp  end,  and  each  horizontal 
row,  that  is,  those  that  run  from  side  to  side,  represents  a 
pick  of  filling.  It  should  be  thoroughly  understood  that  it 


4 


ELEMENTARY  TEXTILE  DESIGNING  §71 


Is  not  the  lines  but  the  rows  of  squares  enclosed  by  these 
lines  that  represent  the  ends  and  picks;  thus  in  Fig.  2  (a) 
there  are  8  ends  and  8  picks  represented  in  each  part  marked 


(d) 


(e)  (f) 

Fig.  2 

off  by  the  heavy  lines.  This  is  the  method  of  designating 
different  design  paper;  that  is,  by  giving  the  number  of  ends 
and  picks  that  are  shown  in  the  square  marked  off  by  the 


§71  ELEMENTARY  TEXTILE  DESIGNING 


5 


heavy  lines.  In  speaking  of  design  paper  the  number  of  ends 
represented  is  always  given  first,  followed  by  the  number  of 
picks  represented.  Thus  (a)  is  called  8x8  design  paper;  (b) 
is  8  X  12;  (c)  is  18  X  4;  ( d )  is  8  X  16;  (<?)  is  6  X  24;  and  (/) 
is  8  X  10.  _ _ 

METHOD  OF  INDICATING  A  WEAVE  ON  DESIGN  PAPER 

5.  The  interlacing  of  the  warp  and  filling,  or  the  weave, 
is  indicated  by  marking  or  filling  in  certain  squares  of  the 
design  paper  while  others  are  left  blank.  When  a  square  is 
marked,  it  indicates  that  the  warp  end  represented  by  that 
vertical  row  of  squares  is  lifted  at  that  point  and  that  the 
pick  of  filling  represented  by  the  horizontal  row  of  squares  is 
underneath  the  warp  end;  for  instance,  if  the  square  on  the 
first  end  and  first  pick  is  marked,  it  indicates  that  the  first 
end  is  raised  over  the  first  pick.  When  a  square  is  left 
blank,  it  indicates  that  the  warp  end  represented  by  that  ver¬ 
tical  row  of  squares  is  lowered  at  that  point  and  that  the 
pick  of  filling  represented  by  that  horizontal  row  of  squares 
is  over  the  warp  end;  for  instance,  if  the  square  on  the  first 
end  and  first  pick  is  left  blank  it  indicates  that  the  first  end 
is  lowered  under  the  first  pick.  The  fact  that  marked  squares 
always  mean  warp  up  and  blank  squares  filling  up,  should 
be  firmly  fixed  in  mind. 

The  warp  ends  are  drawn  through  harnesses,  so  that  when 
a  harness  is  raised  the  warp  ends  drawn  through  it  are  raised 
and  lifted  over  the  filling;  whereas,  when  a  harness  is  lowered 
the  warp  ends  drawn  through  it  are  depressed  under  the 
filling.  Consequently,  whenever  a  square  on  the  design 
paper  is  filled  in,  it  shows  that  the  harness  through  which 
that  end  is  drawn  is  lifted;  and,  on  the  other  hand,  when  a 
square  is  left  blank,  it  shows  that  the  harness  through  which 
that  warp  end  is  drawn  is  lowered. 

6.  The  representation  on  design  paper  of  the  interlacing 
of  the  warp  and  filling  is  known  as  the  weave.  Fig.  3  is  a 
diagrammatic  view  of  a  cloth  woven  with  the  plain  weave 
and  also  illustrates  the  method  of  representing  the  weave  on 
design  paper.  Dealing  first  with  (a)  and  (b)  only,  (a)  shows 


6 


ELEMENTARY  TEXTILE  DESIGNING  §71 


the  way  the  ends  and  picks  of  the  cloth  are  interlaced,  while 
(b)  shews  the  weave. 

It  must  constantly  be  borne  in  mind  that  each  vertical  row 
of  squaies  represents  a  warp  end,  while  each  horizontal 
row  represents  a  pick  of  filling.  The  lines  drawn  from  (a) 
to  (b)  show  which  warp  end  each  vertical  row  of  squares 
(b)  represents;  the  ends  are  num¬ 

bered  1,  2,  3,  4,  5,  and  6  at  the 
bottom. 

By  following  the  ends  from 
(a)  to  (b) ,  it  will  be  seen  that 
when  they  are  up,  as  shown 
in  ( a ),  the  corresponding 
squares  in  ( b )  are  filled  in, 
and  on  the  other  hand  when 
the  ends  are  down,  the  cor- 


Fig.  3 


responding  squares  in  ( b )  are 
left  blank.  Following  the 
first  end,  it  will  be  noticed 
that,  starting  at  the  bottom 
of  (a),  this  end  is  over  the 
first  pick  a;  therefore,  the  first  square  at  the  bottom  of  the 
row  of  squares  representing  this  end,  as  shown  in  (b),  is 
filled  in.  Continuing  with  this  same  end,  it  will  be  seen  that 
it  is  under  the  next  pick  b;  therefore,  in  (b)  the  next  square 
above  the  one  previously  marked  will  be  left  blank.  Still 
continuing  with  this  end,  it  will  be  seen  that  it  is  over  the 
next  pick  c;  therefore,  the  next  square  above  in  (b)  is  filled  in. 
The  end  now  passes  under  the  next  pick  d  in  (a)  and  is  shown 
by  leaving  the  corresponding  square  in  (b)  blank.  Follow¬ 
ing  the  next  end  2  in  the  same  manner,  it  will  be  seen  that 
it  is  under  the  pick  a,  over  b,  under  c,  and  over  d.  If  the 


§71  ELEMENTARY  TEXTILE  DESIGNING 


7 


vertical  row  of  squares,  in  (b) ,  that  represents  this  end  is 
now  examined,  it  will  be  seen  that  wherever  this  end  is  up, 
the  square  is  filled  in,  and  wherever  it  is  down,  the  square  is 
left  blank.  Thus,  the  weave  is  shown  in  (b),  and  if  each  end 
is  examined  in  the  same  manner  it  will  be  seen  that  the  inter¬ 
lacing  of  each  end  in  {a)  is  correctly  shown  in  (b) . 

It  should  be  noticed  that  when  the  interlacings  of  the 
warp  ends  are  shown  in  this  manner,  the  interlacings  of  the 
filling  must  necessarily  also  be  shown,  since  when  a  square  is 
filled  in  it  not  only  shows  that  the  warp  end  is  up  at  that 
point  but  also  indicates  that  the  filling  at  that  point  is  under 
the  warp;  and  when  a  square  is  left  blank  it  not  only  shows 
that  the  warp  end  is  down  at  that  point  but  also  that  the 
filling  is  over  the  warp  end.  Therefore,  when  the  ends  have 
been  shown  on  design  paper,  the  picks  also  have  been  shown, 
and  consequently  {b)  shows  where  the  filling  is  up  and 
where  down  in  the  same  manner  as  it  shows  where  the 
warp  is  up  and  where  down.  That  this  is  so  may  be  seen 
by  referring  to  {c) ,  which  is  exactly  the  same  as  {b)  except 
that  in  this  case  the  lines  are  drawn  from  the  picks  in  (a)  to 
the  rows  of  squares  in  (r)  that  represent  the  respective 
picks.  If  the  picks  are  followed  from  («)  to  (c)  in  the  same 
manner  as  the  ends  were  followed  from  (a)  to  (b),  it  will  be 
seen  that  ( c )  shows  the  interlacings  of  the  picks.  There¬ 
fore,  since  (b)  is  the  same  as  (c) ,  either  will  show  .the 
weave  of  the  cloth  equally  well. 

In  Fig.  3,  (d)  is  a  method  of  showing  the  interlacing  of 
one  pick  of  filling  with  the  warp  and  represents  the  manner 
in  which  either  of  the  picks  b  and  d  interlaces  with  the  warp 
ends,  the  curved  line  showing  the  pick  of  filling  and  the 
circles,  sections  of  the  warp  ends.  As  shown,  the  pick  is 
over  the  first  and  under  the  second  warp  end,  etc. 

7 .  Another  very  important  point  to  be  noticed  in  this  con¬ 
nection  is  that  every  other  end  is  alike  and  every  other  pick 
is  alike.  By  examining  Fig.  3  (a)  it  will  be  seen  that  the  first, 
third,  and  fifth  ends  are  alike  and  also  that  the  ends  marked 
P,  4,  and  6  are  similar  to  each  other,  while  the  picks  marked  a 


8  ELEMENTARY  TEXTILE  DESIGNING  §71 

and  c  are  alike  as  also  b  and  d.  From  this  it  will  be  seen 
that  in  the  case  of  a  plain  weave  it  requires  only  2  ends  and 
2  picks  to  show  the  manner  in  which  all  the  ends  and  picks 
interlace.  Or,  in  other  words,  2  ends  and  2  picks  show  one 
repeat  of  the  weave,  all  the  other  ends 
and  picks  being  simply  repetitions  of 
these  2  ends  and  2  picks.  Fig.  4  shows 
one  repeat  of  the  plain  weave  repre¬ 
sented  on  design  paper. 

All  weaves  repeat  on  a  certain  num¬ 
ber  of  ends  and  picks.  It  need  not  nec¬ 
essarily  be  two  ends  and  two  picks,  nor 
is  it  necessary  for  the  ends  to  repeat  on 
the  same  number  as  the  picks,  but  each  must  repeat  at  some 
time.  To  illustrate  this  point  further  Fig.  5  is  given;  (a) 
shows  a  weave  on  de¬ 
sign  paper;  (b)  shows 
the  manner  in  which  the 
ends  and  picks  interlace; 
and  ( c )  shows  one  of  the 
picks  interlacing  with 
the  warp  ends.  If  each 
end  in  ( b )  is  compared 
with  the  representation 
of  the  corresponding 
end  in  (a),  it  will  be 
seen  that  ( a )  is  the 
weave  of  (b).  When 
speaking  of  the  first 
end  of  a  weave,  the  one 
at  the  extreme  left  is 
always  intended,  while 
the  first  pick  is  the  one 
at  the  bottom;  the  first 
end  and  first  pick  are 
represented  in  all  cases  by  the  square  in  the  lower  left-hand 
corner.  Referring  to  (a),  notice  carefully  the  interlacings  of 
each  end.  It  will  be  seen  that  the  first,  second,  third,  and 


(c) 

Fig  5 


Fig.  4 


§71  ELEMENTARY  TEXTILE  DESIGNING 


9 


fourth  are  all  different,  but  that  the  fifth  is  like  the  first,  the 
sixth  is  like  the  second,  the  seventh  is  like  the  third,  and  the 
eighth  is  like  the  fourth.  If  more  ends  were  shown  they 
would  repeat  in  the  same  manner;  therefore,  it  will  be  seen 
that  this  weave  is  complete  on  4  ends  and  that  at  (a)  and  (b) 
two  repeats  are  shown.  If  more  picks  were  shown  the  fifth 
pick  would  be  like  the  first,  and  so  on;  therefore,  the  weave  is 
complete  on  4  picks.  Consequently,  one  repeat  of  this  weave 
occupies  4  ends  and  4  picks.  With  every  weave,  the  number 
of  ends  and  picks  that  constitutes  a  repeat  should  be  care¬ 
fully  determined.  _ 


HARNESS  DRAFT 

8.  Every  end  in  the  warp  that  interlaces  with  the  filling 
differently  from  the  others  must  be  drawn  through  a  separate 
harness  in  the  loom,  but  every  end  in  the  warp  that  works  in 
a  manner  similar  to  some  other  end  may  be  drawn  through 
the  same  harness  as  that  other  end,  provided  that  it  is  drawn 
in  its  regular  order.  Thus  in  the  case  of  the  plain  weave, 
if  every  even-numbered  end  is  drawn  through  one  harness 
and  every  odd-numbered  end  is  <lrawn  through  another  har¬ 
ness  and  these  two  harnesses  are  made  to  rise  and  fall 
alternately,  or  first  one  and  then  the  other  is  lifted,  and  a 
pick  of  filling  passed  through  each  opening,  cloth  similar  to 
that  shown  in  Fig.  1  will  be  formed. 

The  method,  or  order,  of  drawing  each  end  of  a  weave 
through  the  loom  harnesses  is  usually  indicated  on  design 
paper  by  means  of  a  draft,  generally  called  the  harness 
draft,  but  frequently  designated  as  the  drawing-in  draft. 
This  is  best  indicated  with  figures,  but  may  be  shown  by  means 
of  crosses,  dots,  etc.  In  Fig.  6,  (a)  shows  the  plain  weave 
extended  on  8  ends,  while  ( b )  shows  the  harness  draft — that 
is,  through  which  harness  each  end  is  drawn.  The  number 
over  each  end  in  the  weave  (a)  indicates  the  number  of  the 
warp  end.  It  will  be  seen  that  the  first  end  is  drawn  through 
the  first  harness,  as  shown  in  the  harness  draft  (b)>  while 
the  second  end,  as  it  interlaces  with  the  filling  differently 
from  the  first,  must  be  drawn  through  a  separate  harness,  or 


10 


ELEMENTARY  TEXTILE  DESIGNING  §71 


the  second,  as  shown;  the  third  end  in  the  weave  works  like 
the  first  and  therefore  can  be  drawn  through  the  same  harness 
i  2  3  4  5  e  7  8  as  the  first  end;  the  fourth 

end  works  like  the  second 

» 

and  is  consequently  drawn 
through  the  same  harness 
as  the  second.  Thus  it 
will  be  seen  that  the  first 
end  is  drawn  through  the 
first  harness  and  the  next 
through  the  second,  and 
that  throughout  the  weave 
and  the  warp  every  alter¬ 
nate  end  is  drawn  through 
the  same  harness.  The 
harness  draft  is  simply  a 
draft  showing  the  person 
(b)  who  draws  in  the  warp 

FlG-6  ends  through  which  har¬ 

ness  each  end  of  the  warp  is  to  be  drawn,  being  so  constructed 
that  ends  having  the  same  interlacings 
are  drawn  on  the  same  harness.  Harness 
drafts  are  generally  constructed  for  only 
one  repeat  of  the  weave,  since  all  other 
ends  are  drawn  in  similarly  to  the  ends  in 
that  repeat.  Consequently,  in  making  out 
the  harness  draft  for  the  plain  weave  only 
the  first  two  ends  need  be  shown;  there¬ 
fore,  the  first  two  ends  in  the  harness  draft, 

Fig.  6  {b) ,  show  the  manner  of  drawing  in 
all  the  ends  of  the  warp. 

9.  The  derivation  of  the  harness  draft 
for  the  plain  weave,  although  a  typical 
example  of  the  method  employed  with  all 
weaves,  is  comparatively  simple;  hence, 
to  illustrate  further  this  method  another  example  is  given  in 
Fig.  7,  where  (a)  shows  a  weave  and  ( b )  shows  the  harness 


□□□□□□□□ 

□■■■□□■a 

BBBDDDBB 


BBDDOBOB 

BDOOBBOD 

□BBBDDBB 

□OBBBDBO 

□OOBBBOD 
BOOOBBDD 
BBOOOBO " 

BBBDDDBB 


DODD 

DBBB 

DDBB 

DDDB 

BDDD 


BBG'D 

9BBD 

□DOB 

DDBB 

DBBB 

BBBD 

BBDD 

BDDD 


(a) 


DOOOO03OO 

OODOSOOD 

OOOfflOODO 

DDE1DDDQDD 

DEIDDDDDE] 

mODDDDDD 


DEDD 

DDED 

ODDS) 

DDDD 

DDDD 

DDDD 


(6) 

Fig.  7 


2  Harness 
1'—  „ 


§71  ELEMENTARY  TEXTILE  DESIGNING 


11 


draft.  By  noticing  the  weave  it  will  be  seen  that  the  first 
6  ends  interlace  with  the  filling  differently;  therefore,  they 
must  all  be  drawn  through  separate  harnesses.  This  is  done  in 
the  harness  draft  (b) ,  which  shows  the  first  end  drawn  through 
the  first  harness,  the  second  end  drawn  through  the  second 
harness,  the  third  end  drawn  through  the  third  harness,  and  so 
on  up  to  the  sixth  end,  which  is  drawn  through  the  sixth  har¬ 
ness.  The  seventh  end  of  the  weave  is  like  the  third  and  can 
therefore  be  drawn  through  the  same  harness.  One  point  to 
be  noted  is  that  in  making  out  a  harness  draft  each  row  of 
squares  running  across  the  paper  represents  a  harness. 
Therefore,  when  making  out  a  harness  draft,  as  each  end  is 
indicated,  the  number  showing  through  which  harness  it  is  to 
be  drawn  must  be  placed  in  the  horizontal  row  of  squares 
representing  that  harness.  Thus  in  this  case,  the  number  3, 
which  shows  that  the  seventh  end  is  drawn  through  the  third 
harness,  is  placed  in  a  square  that  will  represent  the  seventh 
end  and  also  the  third  harness,  as  shown.  Continuing  with 
the  ends  in  the  weave,  it  will  be  seen  that  the  eighth  end  is 
exactly  like  the  second;  therefore,  it  can  be  drawn  through 
the  same  harness  as  the  second  end,  or  the  second  harness, 
as  shown.  The  ninth  end  is  exactly  like  the  first  end;  there¬ 
fore,  it  is  drawn  through  the  same  harness  as  the  first  end, 
which  is  the  first  harness.  The  tenth  end  is  like  the  sixth,  the 
eleventh  like  the  fifth,  and  the  twelfth  like  the  fourth;  there¬ 
fore,  the  tenth  end  is  drawn  through  the  same  harness  as  the 
sixth  end,  which  is  the  sixth  harness,  the  eleventh  end  through 
the  fifth  harness,  and  the  twelfth  end  through  the  fourth  har¬ 
ness,  as  shown  in  the  harness  draft. 


CHAIN  DRAFT 

10.  After  the  harness  draft  has  been  made  to  show  the 
method  of  drawing  in  the  warp  ends,  a  plan  must  be  made  to 
show  how,  or  in  what  order,  the  harnesses  must  be  lifted  so 
that  the  ends  drawn  through  them  will  interlace  with  the  fill¬ 
ing  according  to  the  desired  weave,  or  in  other  words  a  plan 
showing  which  harnesses  are  to  be  raised  and  which  lowered 


12 


ELEMENTARY  TEXTILE  DESIGNING  §71 


on  each  pick.  This  plan  is  known  as  the  chain  draft  and  is 
obtained  from  the  weave  and  harness  draft  as  follows:  Refer¬ 
ring  to  Fig.  6,  it  will  be  seen  that  the  first  end  has  been 
drawn  through  the  first  harness  and  that  all  the  ends  working 
like  the  first  end  have  been  drawn  through  that  harness;  so 
that  if  the  first  harness  is  raised  and  lowered  in  the  order 
indicated  by  the  first  end  of  the  weave,  all  the  ends  drawn 
Jirough  that  harness  will  be  raised  and  lowered  in  the  same 
manner  and  will  therefore  interlace  with  the  filling  in  the 
same  way.  The  second  end  has  been  drawn  through  the 
second  harness  and  also  all  the  ends  that  work  in  a  manner 
similar  to  the  second;  consequently,  if  the  second  harness  is 
raised  and  lowered  in  the  same  order  as  that  indicated 
by  the  second  end  of  the  weave,  all  the  ends  drawn  through 
that  harness  will  interlace  with  the  filling  in  a  similar  manner. 

The  marks  and  blanks  on  the  first  end  of  the  weave,  as 
shown  in  (a),  Fig.  6,  indicate  the  manner  in  which  that  end 
is  to  be  raised  or  lowered;  consequently,  by  raising  the  har¬ 
ness  through  which  that  end  is  drawn,  or  the  first  harness,  in 
the  same  manner  as  the  first  end  is  raised,  all  the  ends  drawn 
through  that  harness  will  be  raised  and  lowered  in  their 
proper  order.  The  marks  and  blanks  on  the  second  end 
of  the  weave  indicate  the  manner  in  which  that  end  must  be 
raised  and  lowered;  consequently,  by  raising  the  harness 
through  which  that  end  is  drawn,  or  the  second  harness,  in 
the  same  manner  as  the  second  end  is  raised,  all  the  ends 
drawn  through  that  harness  will  be  raised  and  lowered  in 
their  proper  order.  This  includes  all  the  ends  in  the  warp 
that  work  differently,  and  consequently  two  harnesses  are  all 
that  are  necessary  to  produce  this  weave. 

The  manner  of  lifting  and  lowering  the  harnesses,  or  in 
other  words  the  chain  draft,  is  indicated  on  design  paper  by 
means  of  blank  and  filled-in  squares,  each  filled-in  square  indi¬ 
cating  that  a  harness  is  raised,  while  each  blank  square  shows 
that  a  harness  is  lowered.  To  make  a  chain  draft  from  the 
weave  and  harness  draft,  commence  with  the  first  end  and 
copy  the  interlacings  of  each  end  in  one  repeat  of  the  weave 
that  is  drawn  in  through  a  separate  harness  as  indicated  by 


§71 


ELEMENTARY  TEXTILE  DESIGNING 


13 


the  harness  draft,  placing  these  interlacings  of  the  ends  in 
the  same  relative  position  that  the  harnesses  through  which 
they  are  drawn  occupy. 

Fig.  4  shows  one  repeat  of  the  weave  shown  by  the  diagram 
Fig.  1,  and  since  the  first  end  is  drawn  through  the  first  har¬ 
ness,  the  interlacings  of  the  first  end  must  be  copied  to 
show  the  manner  in  which  this  harness  should  be  raised 
and  lowered.  The  second  end  is  drawn 
through  the  second  harness;  therefore,  to 
show  the  workings  of  this  harness  the 
interlacings  of  this  end,  as  shown  in  Fig.  4, 
must  be  copied.  When  this  has  been  done 
it  will  be  noticed  that  the  chain  draft  is 
similar  to  the  weave  as  shown  in  Fig.  4; 
therefore,  this  figure  can  be  used  to  indi¬ 
cate  the  chain  draft  as  well  as  to  show 
the  weave. 

11.  To  illustrate  further  the  method 
of  obtaining  the  chain  draft  from  the  weave 
and  harness  draft,  a  chain  draft  is  made 
for  the  weave  and  harness  draft  shown 
in  Fig.  7.  In  Fig.  8,  (a)  represents  one 
repeat  of  the  weave;  ( b )  shows  the  har¬ 
ness,  or  drawing-in,  draft;  and  ( c )  shows 
the  chain  draft.  The  significance  of  the 
rows  of  squares  in  each  figure  should  be 
carefully  noted.  In  (a),  each  vertical  row 
of  squares  represents  one  end;  each  row 
of  squares  across  the  design  paper,  one 
pick;  and  each  filled  square,  an  end  raised  over  a  pick.  In 
(b) ,  each  vertical  row  of  squares  represents  one  end,  the  same 
as  in  (a),  but  each  row  of  squares  across  the  design  paper 
represents  one  harness,  and  each  number  the  harness  through 
which  that  particular  end  is  drawn.  In  (c) ,  each  vertical  row 
of  squares  represents  the  working  of  one  harness,  or  in  other 
words  the  order  of  raising  and  lowering  the  harness,  while 
each  row  across  the  design  paper  represents  one  pick,  or 
92—5 


mmmuiEEEiE) 

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BBCODBDB 
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Bonn 

(a) 

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□□SODDED 

□EDDDDDE 

□□□□□□□□ 

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□□□BBBDD 

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□□□□□□□□ 

( c ) 

Fig.  8 

14 


ELEMENTARY  TEXTILE  DESIGNING  §71 


one  bar  of  the  chain  that  is  placed  on  the  loom  to  govern  the 
operation  of  the  harnesses. 

To  make  a  chain  draft  from  a  weave  it  is  simply  necessary 
to  copy  the  interlacings  of  those  ends  that  are  drawn  on 
separate  harnesses.  Therefore,  in  order  to  ascertain  the 
number  of  ends  that  any  chain  draft  will  require  it  is  only 
necessary  to  find  the  number  of  harnesses  that  the  drawing- 
in  draft  occupies.  By  referring  to  Fig.  8  (b) ,  it  will  be  seen 
that  6  harnesses  are  used,  and  thus  only  six  vertical  rows  of 
squares,  representing  the  6  ends  of  the  weave  that  have  dif¬ 
ferent  interlacings,  will  be  required  for  the  chain  draft.  In 
copying  the  interlacings  of  those  ends  that  are  drawn  on 
separate  harnesses,  since  the  first  end  is  drawn  through  the 
first  harness,  the  first  harness  shown  in  ( c )  is  marked  the 
same  as  the  first  end  shown  in  (a).  The  second  end  is 
drawn  through  the  second  harness,  and  consequently  the 
second  harness  shown  in  (c)  is  marked  the  same  as  the 
second  end  shown  in  (a).  This  method  is  continued  with 
the  first  6  ends,  all  of  which  are  drawn  through  separate 
harnesses.  The  seventh  end  of  the  weave  is  drawn  through 
the  third  harness,  but  since  the  working  of  this  harness  has 
already  been  set  down,  it  must  not  be  marked  again.  The 
same  can  be  said  of  the  rest  of  the  ends,  all  of  which  work 
in  a  manner  similar  to  some  one  of  the  first  6  ends.  There¬ 
fore,  the  chain  draft  is  complete  as  shown  in  ( c ). 

12.  The  expression  chain  draft  is  derived  from  the 
harness  chain  used  on  a  woolen  or  worsted  loom,  which  con¬ 
sists  of  bars  on  which  rollers,  or  risers ,  and  washers,  or 
sinkers ,  are  placed,  each  bar  selecting  the  harnesses  to  be 
raised  for  1  pick.  With  most  woolen  and  worsted  looms 
a  roller  raises  the  harness  and  a  sinker  causes  it  to  be  low¬ 
ered;  thus,  wherever  a  mark  is  placed  in  a  square  of  the 
chain  draft,  a  riser  is  placed  on  the  harness  chain,  which  will 
cause  that  harness  to  be  raised,  and  wherever  a  blank  square 
is  left  in  the  chain  draft,  a  sinker  is  placed  on  the  harness 
chain,  which  will  cause  that  harness  to  remain  down.  The 
construction  of  some  woolen  and  worsted  looms  is  such  that 


§71  ELEMENTARY  TEXTILE  DESIGNING 


15 


the  reverse  of  this  statement  is  true  (namely,  a  roller  on  the 
harness  chain  lowers  the  harness,  while  a  washer  causes  it 
to  be  raised),  so  that  a  mark  on  the  chain  draft  indicates  a 
washer  on  the  harness  chain  and  a  blank  square  a  roller. 

The  term  pegging-  plan  is  also  often  used  for  chain 
draft,  because  the-  pattern  chain  commonly  used  on  a  cotton 
dobby  loom  consists  of  wooden  bars  into  which  pegs  are 
inserted.  When  a  square  is  marked  on  the  chain  draft,  a 
peg  is  inserted  in  the  bar  and  the  harness  is  raised;  when 
the  square  is  blank,  the  bar  has  no  peg  and  the  harness 
remains  down. 


EXAMPLES  FOR  PRACTICE 

1.  Give  the  drawing-in  draft  for  Fig.  9. 

2.  Give  the  chain  draft  for  Fig.  9  to  correspond  with  the  drawing- 
in  draft  shown  in  answer  to  question  1. 


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(a) 

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Fig.  9 


(5) 

Fig.  10 


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Fig. 11 

3.  Fig.  10  (a)  and  (b)  shows  a  weave  and  drawing-in  draft;  give 
the  chain  draft  to  correspond  with  the  drawing-in  draft. 

4.  Give  the  drawing-in  draft  for  the  weave  shown  in  Fig.  11; 
placing  all  ends  that  work  alike  on  the  same  harness. 

5.  Give  the  chain  draft  for  Fig.  11  to  correspond  with  the  drawing- 
in  draft  shown  in  answer  to  question  4. 


16 


ELEMENTARY  TEXTILE  DESIGNING 


71 


THE  EFFECT  OF  THE  WEAVE 

13.  The  weave,  harness  draft,  and  chain  draft  have  thus 
far  been  explained  in  connection  with  specific  cases,  but 
these  subjects  will  now  be  dealt  with  in  a  more  general  way. 
The  weave  may  be  said  to  influence  the  build  of  the  fabric; 
for  instance,  if  the  interlacings  of  the  different  ends  are  not 
equally  balanced,  that  is,  if  all  the  ends  in  one  repeat  of  the 
weave  do  not  interlace  about  the  same  number  of  times, 
it  will  be  impossible  to  obtain  a  regular  and  uniform  cloth. 
Fig.  12  shows  a  weave  that  will  serve  to  illustrate  this  point. 

By  examining  this  weave  it  will  be  noticed 
□  life  that  the  first,  second,  seventh,  and  eighth 
■■■■  ends  make  twelve  interlacings,  while  the 
remaining  ends  make  only  four  interla- 
□□□□  ein&s  in  one  repeat  of  the  weave.  A  warp 
□□□□  end  is  said  to  interlace,  or  to  make  one 
interlacing,  each  time  that  it  passes 
through  the  cloth  from  the  face  to  the 
back  or  from  the  back  to  the  face;  that 
is,  an  interlacing  is  made  each  time  that  the  warp  end  is 
raised  over,  or  depressed  under,  one  or  more  picks.  In  the 
same  way  a  pick  is  said  to  make  an  interlacing  each  time 
that  it  passes  over  or  under  one  or  more  warp  ends.  Those 
ends  and  picks  that  make  the  greater  number  of  interlacings 
will  naturally  be  woven  tighter  than  those  that  make  fewer 
interlacings;  therefore,  with  such  a  weave  as  is  shown  in 
Fig.  12  it  is  not  possible  to  produce  a  level  cloth.  This 
weave  is  known  as  a  honeycomb ,  and  a  level  cloth  is  not 
desired  but  rather  one  with  a  honeycombed  effect. 

The  number  of  interlacings  in  a  weave  affects  the  length 
of  warp  required  to  weave  a  given  length  of  cloth.  For 
example,  if  cloths  having  the  same  number  of  picks  per  inch 
and  the  same  counts  of  yarn  were  woven  with  the  weaves 
shown  in  Figs.  3  and  5,  the  cloth  made  with  the  weave  in 
Fig.  3  would  require  a  longer  warp  than  that  woven  with  the 
weave  shown  in  Fig.  5,  if  the  same  number  of  yards  of  each 
cloth  were  desired.  This  may  be  demonstrated  by  taking  a 


■□□□□□■□ 

□■□□□□□■ 

■□□□□□■□ 


□■■■■■□■ 

■□■■■■■□ 

□■■■■■□■ 

■□■■■■■□ 


Fig. 12 


§71  ELEMENTARY  TEXTILE  DESIGNING 


17 


piece  of  thread  and  interlacing  it  two  or  three  times  between 
the  fingers  of  one  hand,  having  the  thread  pass  over  one 
finger,  under  the  next,  over  the  next,  and  so  on,  noting  the 
length  of  thread  that  is  taken  up,  and  afterwards  passing  the 
thread  back  and  forth  again  the  same  number  of  times  but 
having  it  pass  over  two  fingers  and  under  two  fingers,  when 
the  difference  in  the  lengths  required  in  the  two  operations 
may  be  noticed.  It  will  be  found  that  the  length  of  the 
thread  increases  with  the  interlacings.  It  is  exactly  the  same 
principle  that  necessitates  a  longer  warp  when  there  are 
more  interlacings  of  the  ends  and  picks.  The  interlacings 
also  affect  the  number  of  ends  and  picks  that  can  be  placed 
in  1  inch  of  the  cloth;  the  general  rule  being  that  the  greater 
the  number  of  interlacings,  the  smaller  is  the  number  of  ends 
or  picks  that  can  be  crowded  together. 

The  weave  also  affects  the  appearance  of  the  cloth,  since 
it  is  possible  to  produce  a  great  many  patterns  in  woven 
fabrics  by  simply  changing  the  method  of  interlacing  the 
warp  and  filling,  no  variety  of  colors  or  yarns  being  needed. 
Again,  a  weave  may  be  used  in  a  figured  design  that  will 
influence  the  development  of  the  details  of  the  pattern;  for 
instance,  it  may  be  desired  to  have  a  certain  effect  or  to 
bring  certain  colors  to  the  face  of  the  cloth  in  some  parts 
of  the  design.  _ 

STANDARD  TYPES  OF  HARNESS  DRAFTS 

14.  Straight  Drafts. — The  simplest  method  of  drawing 
the  warp  ends  through  the  harnesses  is  that  employed  with 
the  plain  weave.  As  previously  explained,  in  this  weave 
there  are  only  2  ends  in  one  repeat  of  the  weave  and  they  are 
drawn  through  2  harnesses,  first  an  end  through  one  harness 
and  then  the  next  end  through  the  other  harness,  and  so  on. 
This  method  of  drawing  in  the  warp  ends  is  a  standard  method 
and  is  known  as  the  straight  draft.  A  straight  draft  is  not 
confined  to  2  harnesses,  but  may  be  defined  as  a  draft  in  which 
the  ends  are  drawn  through  the  harnesses  in  regular  order 
from  front  to  back.  To  illustrate  this,  suppose  that  a  weave 
occupied  10  harnesses  instead  of  2  harnesses  and  that  the 


18 


ELEMENTARY  TEXTILE  DESIGNING  §71 


ends  were  drawn  straight  from  the  front  harness  to  the  back 
harness.  Then  the  first  end  would  be  drawn  through  the 
first  harness,  the  second  end  through  the  second  harness,  the 
third  end  through  the  third  harness,  and  so  on,  ending  with 
the  tenth  end,  which  would  be  drawn  through  the  tenth  har¬ 
ness.  The  draft  would  then  commence  another  repeat  with 
the  first  harness  again,  and  the  next,  or  eleventh,  end  would 
be  drawn  through  that  harness,  the  twelfth  end  would  be 
drawn  through  the  second  harness,  and  so  on.  The  harness 
draft  is  repeated  in  this  manner  until  all  the  ends  in  the  warp 
have  been  drawn  in.  It  will  be  noted  here  that  when  the 


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Fig.  13 


warp  is  actually  being  drawn  through  the  harnesses  it  is  more 
convenient  to  read  the  drawing-in  draft  in  reverse  order, 
that  is,  from  right  to  left,  commencing  on  the  right  of  the 
harnesses  and  drawing  from  back  to  front;  however,  this 
will  not  affect  the  result  in  the  least. 

Fig.  13  shows  two  repeats  of  a  straight  drawing-in  draft 
on  5  harnesses  and  also  illustrates  another  method  of  repre¬ 
senting  the  harness  draft,  the  lines  running  across  the  page 
representing  the  harnesses,  the  vertical  lines  indicating  the 
warp  ends,  and  the  crosses  showing  through  which  harness 
each  warp  end  is  drawn.  In  Fig.  13,  the  first  end  is  drawn 


§71  ELEMENTARY  TEXTILE  DESIGNING 


19 


through  the  first  harness,  the  second  end  through  the  second 
harness,  and  so  on  up  to  the  fifth  end,  which  is  drawn 
through  the  fifth  harness,  whereupon  the  draft  commences  to 
repeat,  that  is,  the  next  end,  which  is  the  sixth,  is  drawn 
through  the  first  harness,  the  seventh  end  is  drawn  through 
the  second  harness,  and  continues  in  this  manner  up  to  the 
tenth  end,  which  is  drawn  through  the  fifth  harness.  Here 
the  harness  draft  commences  to  repeat  again  and  the  next 
end,  which  is  the  eleventh,  if  it  were  shown,  would  be  drawn 
through  the  first  harness. 

15.  Point  Drafts. — Another  method  of  drawing  in 
warps  that  is  used  quite  extensively  is  known  as  the  center, 
or  point ,  draft.  In  regular  point  drafts,  the  ends  are 
drawn  from  the  front  to  the  back  harness  and  then  the 
order  of  drawing  in  is  reversed;  that  is,  after  drawing  in  the 
end  in  the  back  harness  the  next  end,  instead  of  being  drawn 
on  the  front  harness  as  in  the  straight  draft,  is  drawn  through 
the  next  to  the  back  harness  and  the 
ends  then  drawn  in  regularly  from  back 
to  front.  Fig.  14  is  an  illustration  of 
a  regular  point  draft  on  8  harnesses  in 
which  the  first  end  is  drawn  through  the 
first  harness,  the  second  end  through 
the  second  harness,  and  so  on  up  to  the 
eighth  end,  which  is  drawn  through  the  eighth  harness.  The 
next,  or  ninth  end,  instead  of  being  drawn  through  the  first 
harness,  as  in  a  straight  draft,  is  drawn  through  the  next  to 
the  back,  or  the  seventh,  harness  and  the  ends  then  drawn  in 
from  back  to  front,  or  in  reverse  order,  the  fourteenth  end 
being  drawn  in  through  the  second  harness.  The  draft  com¬ 
mences  to  repeat  here. 

With  a  point  draft  it  should  be  carefully  noted  that  the 
last  end  of  the  repeat  should  always  be  drawn  through  the 
second  harness,  that  is,  if  the  draft  is  commenced  on  the  first 
harness,  and  that  the  drawing-in  draft  should  never  com¬ 
mence  and  end  with  the  same  harness.  It  should  also  be 
noticed  that  a  regular  point  draft  is  always  complete  on  a 


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Fig.  14 


20 


ELEMENTARY  TEXTILE  DESIGNING 


71 


number  of  ends  that  is  two  less  than  twice  the  number  of 
harnesses  employed.  Thus,  in  Fig.  14,  the  draft  occupies 
8  harnesses,  and  one  repeat  is  complete  on  14  ends,  which  is 
according  to  the  rule,  as  follows:  2  X  8  =  16;  16  —  2  —  14, 
the  number  of  ends  on  which  one  repeat  of  the  draft  is 
complete. 

Another  type  of  point  draft,  illustrated  in  Fig.  15,  is  known 
as  the  irregular  point  draft.  In  these  drafts  the  ends 

are  drawn  through  the 
harnesses  straight  for 
a  certain  number  of 
times  and  then  reversed 
as  in  a  regular  point 
draft;  thus  in  Fig.  15, 
for  example,  the  ends  are  drawn  in  straight  on  7  harnesses 
three  times  and  then  reversed.  It  will  be  noticed  that  the 
last  end  of  the  repeat  is  drawn  through  the  second  harness, 
as  previously  explained.  Still  another  type  of  irregular  point 
draft  is  illustrated  in  Fig.  16.  The  method  adopted  in  this 
case  is  that  of  drawing  the  ends  straight  for  a  certain  number 
of  harnesses  and  then  reversing,  but  only  running  the  ends 


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SDDDDDDD 


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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□sommsi 

SDEOmSO 

□□□EOEOD 

□□□□Horn 


Fig.  16 


for  a  few  harnesses,  when  they  are  again  run  straight  and 
again  reversed,  etc.  It  will  be  noticed  that  a  repeat  of  the 
draft  occupies  10  harnesses  and  42  ends,  and  also  that  the 
last  end  of  the  repeat  is  drawn  through  the  second  harness. 

16.  Angled  Drafts. — In  the  method  of  drawing  in  the 
warp  ends  known  as  the  angled  draft  they  are  drawn 
straight  for  a  certain  number  of  harnesses  and  then  reversed, 
but  instead  of  the  reversing  starting  with  the  next  to  the  back 
harness  as  in  the  point  draft,  it  is  started  on  an  intermediate 


71  ELEMENTARY  TEXTILE  DESIGNING 


21 


harness,  generally  half  way  between  the  first  and  last  har¬ 
nesses,  but  depending  somewhat  on  the  chain  draft  that  is 
to  be  used.  Fig.  17  shows  an  angled  draft  on  8  harnesses 
in  which  the  first  8  ends  are  drawn 
straight  and  the  method  of  drawing 
in  then  reversed,  but  instead  of  com¬ 
mencing  with  the  seventh  harness 
and  drawing  the  ninth  end  through 
that  harness  as  in  a  regular  point 
draft,  the  ninth  end  is  drawn  through 
the  fourth  harness,  the  tenth  end  through  the  third  harness, 
and  so  on  until  an  end  has  been  drawn  through  each  har¬ 
ness,  which  completes  one  repeat  of  the  draft. 


□□□□□□cin 

□□□□□man 

□□□□(Sana 

□□□Bimm 

□□($□□□□□ 

□mamma 

□□□□□□□a 


□mamma 

□□□□□man 

□□□□□□(sn 

□mmm® 

(!]□□□□□□□ 

□mmmm 

mrnmmn 

□mmmm 


Fig. 17 


□mmmsia 

□□mmmm 

□rnmrnma 

mmmmm 


□mamma 

□□□mm0D 

□□□□□mm 


Fig.  18 


17.  Skii)  Drafts. — The  skip  draft  may  be  considered  as 
a  straight  draft  drawn  in  sections  with  one  or  more  har¬ 
nesses  skipped  between  the  sections.  Fig.  18  shows  a  skip 
draft  on  4  harnesses  in  which  the  first  section  of  4  ends  is 

drawn  in  straight;  then  1  harness  is 
skipped  and  the  next  section  of  4  ends 
drawn  straight,  then  another  harness 
skipped  and  the  next  section  drawn 
in  straight,  and  so  on.  Thus  it  will 
be  noticed  that  the  fourth  end  is  drawn  in  on  the  fourth  har¬ 
ness,  but  the  fifth  instead  of  being  drawn  in  on  the  first 
harness  as  in  the  straight  draft,  is  drawn  in  on  the  second 
harness.  In  the  same  way  the  eighth  end  is  drawn  in  on 
the  first  harness,  but  the  ninth, 
instead  of  being  drawn  in  on  the 
second,  is  drawn  in  on  the  third, 
and  so  on.  It  will  be  noticed  that 
this  draft  repeats  on  16  ends,  since 
if  it  were  continued  the  seven¬ 
teenth  end  would  be  drawn  in  on  the  first  harness,  as  the 
fourth  would  be  skipped.  Thus  the  seventeenth  end  would 
be  the  first  end  of  the  next  repeat  of  the  draft.  In  the  draft 
shown  in  Fig.  18  only  1  harness  is  skipped  between  the  sec¬ 
tions,  but  it  is  perfectly  feasible  to  skip  any  desired  number. 


□□□□□mm 

□□□□mam 

mmmm 

□□mamma 

□mmmm 

mmmarn 


□mammon 

mmamam 

□□□□□□□a 

□□□□□□□□ 

□mmamm 

□□mamma 


□□ 

□□ 

m 

ma 

□□ 

□□ 


Fig.  19 


22 


ELEMENTARY  TEXTILE  DESIGNING  §71 


In  Fig.  19  a  skip  draft  on  6  harnesses  is  shown  in  which 
2  harnesses  are  skipped  between  the  sections.  In  this  draft 
the  first  6  ends  are  drawn  in  straight,  but  the  seventh  end 
skips  2  harnesses  and  starts  on  the  third,  while  the  thirteenth 
end,  instead  of  being  drawn  in  straight,  skips  2  harnesses 
and  begins  on  the  fifth.  In  this  draft  there  are  really  three 
sections  and  the  draft  repeats  on  18  ends,  since  the  nine¬ 
teenth  end,  if  shown,  would  start  on  the  first  harness,  the 
fifth  and  sixth  being  skipped. 

18.  Satin  Drafts. — Satin  drafts  are  really  adaptations 
of  the  skip-draft  principle  in  which  harnesses  are  skipped 
between  the  ends  instead  of  between  sections  of  ends. 
Thus  in  the  5-harness  satin  draft  shown  in  Fig.  20,  the  first 
end  is  drawn  in  on  the  first  harness;  the  second  end  is  drawn 
in  on  the  third  harness,  skipping  the  second  harness;  the 
third  end  is  drawn  in  on  the  fifth  harness,  skipping  the 
fourth  harness;  the  fourth  end  is  drawn  in  on  the  second 

harness,  skipping  the  first  harness; 
and  the  fifth  is  drawn  in  on  the  fourth 
harness,  skipping  the  third  harness. 
In  this  satin  draft  only  1  harness  is 
skipped  between  the  ends,  but  in  the 
8-end  satin  draft  shown  in  Fig.  21, 
2  harnesses  are  skipped  between  the 
ends;  thus,  the  first  end  is  drawn  in  on  the  first  harness;  the 
second  end  on  the  fourth  harness,  skipping  the  second  and 
third  harnesses;  the  third  end  on  the  seventh  harness,  skip¬ 
ping  the  fifth  and  sixth  harnesses;  the  fourth  end  on  the  sec¬ 
ond  harness,  skipping  the  eighth  and  first  harnesses;  and  so 
on.  It  will  be  noticed  that  satin  drafts  repeat  in  the  same  man¬ 
ner  as  the  skip  drafts;  thus  in  Fig.  20  the  sixth  end  would  be 
drawn  in  on  the  first  harness,  the  fifth  harness  being  skipped 
between  the  fifth  and  sixth  ends,  and  in  Fig.  21  the  ninth  end 
would  be  drawn  in  on  the  first  harness,  skipping  the  seventh 
and  eighth  harnesses  between  the  eighth  and  ninth  ends. 

19.  Section  Drafts. — A  section  draft  may  consist  of 
any  one  or  more  of  the  foregoing  styles  of  drafts  arranged  so 


□□□□12 

□[!□□□ 

□□□EO 

□□□□□ 


Fig. 20 


□□□□□mm 

□□□□□□□□ 

□□□□onm 

□mmmm 

□□□□□□($□ 

□□□£)□□□□ 

□□□□□□□a 


Fig.  21 


71  ELEMENTARY  TEXTILE  DESIGNING 


23 


as  to  be  repeated  in  sections  throughout  the  width  of  the  doth. 
Thus  Fig.  22  shows  a  section  draft  on  12  harnesses,  and  as 
indicated  by  the  brackets  the  method  of 
drawing  in  the  first  section  of  4  ends  is  to 
be  repeated  three  times,  and  the  method 
of  drawing  in  the  second  and  third  sec¬ 
tions  of  4  ends  is  to  be  repeated  the  same 
number  of  times.  Thus,  it  will  be  seen 
that  this  is  really  a  short  method  of  indi¬ 
cating  a  comparatively  large  draft,  since 
if  this  draft  were  extended  fully  as  indi¬ 
cated,  it  would  occupy  36  ends,  as  shown 
in  Fig.  23.  This  section  draft  is  simply  an  amalgamation  of 
straight  drafts  in  sections,  but  it  is  not  necessary  to  use 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□DU 

□□□□□□ran 

□□□□□!□□ 

□□□□!□□□ 

□□□($□□□□ 

□□!□□□□□ 

□!□□□□□□ 

□□□□□□□□ 


3  X 


3  X 

Fig.  22 


□  □□® 
□□ED 

□man 

!□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

3  X 


□□□□□□□□ 

□□□□□□□a 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□a 

□□□□□□□a 

□□□SDDDII 

□□!□□□!□ 

□!□□□!□□ 

□□□□□□□a 


□□□□□□□a 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□i 

□□□□□□ED 

□□□□□!□□ 

□□□□!□□□ 

□□□($□□□□ 

□□!□□□□□ 

□!□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□naan® 

□□ffiDOaiDD 

□inmaim 

!□□□!□□□ 


□□□!□□□! 

□□□□□□ran 

□!□□□!□□ 

!□□□!□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□a 

□□□□□□□a 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□a 

□□□□□□□□ 

□□□□□□□□ 


□mra 

□□ED 

□nan 

!□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 


Fig.  23 


straight  drafts,  since  angled,  skip,  or  satin  drafts  may  be 
extended  in  sections  in  the  same  manner. 


EFFECTS  OF  THE  HARNESS  AND  CHAIN  DRAFTS 

20.  That  different  drawing-in  drafts  will  give  widely 
different  results  in  the  cloth,  even  if  the  same  chain  draft  is 
used,  is  readily  apparent.  The  effect  that  will  be  produced 
in  a  cloth  by  any  harness  and  chain  draft  may  be  easily 
ascertained  by  simply  copying  the  interfacings  of  each  end 
of  the  chain  draft  in  the  order  indicated  by  the  harness  draft. 
The  effect  is  practically  the  weave,  and  consequently  finding 
the  effect  when  the  harness  and  chain  drafts  are  given  is 
simply  the  reverse  of  finding  the  harness  and  chain  drafts 
when  the  weave  is  given. 


24 


ELEMENTARY  TEXTILE  DESIGNING  §71 


To  illustrate  this,  suppose  that  Fig.  24  is  a  chain  draft  for 
a  weave  and  that  the  ends  are  drawn  in  straight  on  8  har¬ 
nesses;  then  the  effect  in  the  cloth  will  be  exactly  like  the 
chain  draft,  since  the  first  end  will  work  like  the  first  harness 
of  the  chain  draft,  and  consequently  the  interlacings  of  that 
end  will  correspond  to  the  rising  and  falling  of  that  harness. 
Since  the  second  end  works  like  the  second  harness  and  so 
on  throughout  the  draft,  the  effect  will  be  exactly  like  the 
chain  draft.  When  a  straight  harness  draft  is  used,  the  chain 
draft  is  always  exactly  like  the  weave;  and  on  the  other 
hand,  the  effect,  or  weave,  produced  by  any  chain  draft  with 
a  straight  harness  draft  is  always  like  the  chain  draft.  Sup¬ 
pose  that  the  same  chain  draft,  Fig.  24,  is  used,  but  that  the 
harness  draft  in  Fig.  14  is  used  in  place  of  the  straight  draft, 
and  it  is  desired  to  find  the  effect  that  will  be  produced  in  the 

_  cloth.  As  previously 

■□□□□■  stated,  the  manner  in 
iaSSBBB  which  the  harnesses  rise 
□SSibq  and  fall,  as  shown  in  the 
chain  draft,  will  give  the 
5  manner  in  which  the  ends 

drawn  through  those  har¬ 
nesses  interlace  with  the  filling;  therefore,  if  it  is  desired  to 
learn  how  a  certain  end  interweaves,  it  is  simply  necessary  to 
copy  the  order  of  lifting  and  lowering  the  harness  through 
which  that  end  is  drawn,  and  since  the  harness  draft  shows 
through  which  harness  any  end  is  drawn,  while  the  chain 
draft  shows  when  each  harness  is  up  and  when  down,  it  is 
possible  from  these  two  drafts  to  tell  exactly  how  each  end 
interweaves.  Proceeding  in  this  manner,  in  order  to  find 
the  effect  produced  with  Fig.  24  as  a  chain  draft  and  Fig.  14 
as  a  harness  draft,  since  the  first  end  is  drawn  through  the 
first  harness  it  will  rise  and  fall  with  that  harness  and  con¬ 
sequently  the  lifting  of  the  first  harness  as  shown  in  the 
chain  draft  represents  the  manner  in  which  the  first  end 
interweaves  and  is  therefore  copied  for  the  first  end  of  the 
effect,  as  shown  in  Fig.  25.  The  second  end  is  drawn 
through  the  second  harness  and  the  lifting  and  lowering  of 


!■■□□□□ 

!■□□□□■ 

!□□□□■■ 

□□□□■■■ 

■■■□□□□ 


■■□□□□■ 

■□□□□■■ 

□□□□■■■ 

■■■□□□□ 


Fig.  24 


Fig.  2 


§71  ELEMENTARY  TEXTILE  DESIGNING 


25 


this  harness  is  therefore  copied  in  order  to  show  the  inter¬ 
weaving-  of  this  end,  and  so  on  up  to  and  including  the 
eighth  end;  but  the  ninth  end  is  drawn  through  the  seventh 
harness,  and  therefore  to  show  the  interweaving  of  this  end 
it  is  necessary  to  copy  the  order  of  lifting  and  lowering  that 
harness  as  shown  in  the  chain  draft.  Continuing  in  this 
manner  until  the  interfacings  of  all  the  ends  shown  in  the 
harness  draft  have  been  copied  from  the  chain  draft,  the 
effect  shown  in  Fig.  25  is  obtained. 


■■■□□□□ 

■■□□□□■ 

□□□□ 


□□□□ - 

■□□□□ 


21.  For  another  example  suppose  that  the  same  chain 
draft  is  used  with  the  harness  draft  shown  in  Fig.  17  and 
that  it  is  desired  to  find  the  effect  that  will  be  produced. 
Fig.  26  shows  the  effect,  and  it  is  hardly  necessary  to  go 
into  any  detailed  explanation  of  the 
manner  in  which  this  is  obtained 
except  to  call  attention  to  the  ninth 
end.  By  noticing  the  harness  draft, 

Fig.  17,  it  will  be  seen  that  the  ninth 
end  is  drawn  through  the  fourth  har¬ 
ness;  therefore,  in  representing  this 

end  in  the  effect  it  is  necessary  to  copy  the  lifting  and  lower¬ 
ing  of  the  fourth  harness  as  shown  in  the  chain  draft.  By 
noticing  the  effect,  Fig.  26,  it  will  be  seen  that  the  working 
of  the  ninth  end  is  similar  to  the  working  of  the  fourth  har¬ 
ness  as  shown  in  the  chain  draft,  Fig.  24.  The  working  of 
the  tenth  end  is  similar  to  the  working  of  the  third  harness, 

since  it  is  drawn  through 
that  harness;  the  working 
of  the  eleventh  end  is  simi- 


Fig. 26 


□□■■□BID 

FlG- 27  fig.  28  lar  to  the  working  of  the 

second  harness,  since  the 
eleventh  end  is  drawn  through  that  harness;  and,  in  short,  by 
examining  the  ends  as  shown  in  the  effect,  Fig.  26,  it  will  be 
seen  that  they  all  work  in  a  manner  similar  to  the  harnesses 
through  which  they  are  drawn. 

For  another  example  suppose  that  it  is  desired  to  find  the 
weave  produced  by  the  skip  draft  shown  in  Fig.  18  with  the 


26 


ELEMENTARY  TEXTILE  DESIGNING  §71 


Chain  Draft 


chain  draft  shown  in  Fig.  27.  The  first  section  of  4  ends  is 
drawn  in  straight;  therefore,  these  ends  will  be  the  same  as 
the  chain  draft;  then,  according  to  the  drawing-in  draft,  the 
fifth  end  is  like  the  second,  the  sixth  is  like  the  third,  the 
seventh  is  like  the  fourth,  the  eighth  is  like  the  first,  the  ninth 

is  like  the  third,  and  so 
on^  as  shown  by  the 
completed  weave  in 
Fig.  28. 

A  final  example  of 
the  relation  between  the 
harness  draft,  the  chain 
draft,  and  the  effect  is 
shown  in  Fig.  29.  In 
this  figure,  the  first  end, 
as  shown  in  the  harness 
draft,  is  drawn  through 
the  first  harness;  there¬ 
fore,  the  first  end  in  the 
weave  will  be  like  the 
first  harness  in  the  chain 
draft.  The  second  end 
is  drawn  through  the 
third  harness;  there¬ 
fore,  the  second  end  in 
the  weave  will  be  like 
the  third  harness  in  the 
chain  draft.  The  third 
end  is  drawn  through  the  second  harness;  therefore,  the 
third  end  in  the  weave  will  be  like  the  second  harness  in  the 
chain  draft.  The  fourth  end  is  drawn  through  the  fourth 
harness;  therefore,  the  fourth  end  in  the  weave  will  be  like 
the  fourth  harness  in  the  chain  draft. 


Harness  Draft 


Weave  or£ffect 


?i  I1  "Hi  & 

N  H  I  » 
Fig. 29 


22.  From  these  explanations,  it  will  be  seen  that  by 
simply  altering  the  harness  draft  several  effects  in  the  cloth 
can  easily  be  obtained  from  one  chain  draft.  On  the  other 
hand,  it  will  readily  be  understood  that  it  is  possible  t<? 


§71  ELEMENTARY  TEXTILE  DESIGNING 


27 


obtain  different  effects  with  the  same  harness  draft  by  simply 
changing  the  chain  draft,  since  if  the  harnesses  are  made  to 
rise  and  fall  differently  it  will  of  necessity  cause  the  ends 
drawn  through  these  harnesses  also  to  rise  and  fall  differ¬ 
ently,  thus  changing  the  manner  of  interweaving  the  ends 
and  consequently  changing  the  weave.  It  should,  however, 
be  carefully  noted  that  the  chain  draft  and  harness  draft  must 
always  occupy  exactly  the  same  number  of  harnesses. 


POINTS  TO  BE  CONSIDERED  WHEN  CONSTRUCT¬ 
ING  HARNESS  DRAFTS 

23.  As  has  already  been  shown,  when  two  or  more  ends 
in  one  repeat  of  a  weave  have  the  same  interlacings  it  is 
possible  to  draw  such  ends  through  the 
same  harness,  but  it  is  not  always  advisable 
to  do  so.  It  would  be  possible,  if  the 
loom  would  operate  the  necessary  number 
of  harnesses,  to  draw  each  end  in  one 
repeat  of  a  weave  through  a  separate  har¬ 
ness,  or  in  other  words  to  use  a  straight 
draft  for  every  weave,  in  which  case  one 
repeat  of  the  weave  would  always  be  the 
chain  draft;  but  owing  to  the  large  number  of  ends  occu¬ 
pied  by  a  single  repeat  of  some  weaves,  it  is  not  always 
practicable  to  do  so,  and  consequently  it  becomes  necessary 
to  draw  all  or  some  of  the  ends  working  alike  through  the 
same  harness.  However,  this  is  a  matter  in  which  a  per¬ 
son  must  use  his  judgment  to  a  large  extent,  constantly 
remembering  that  the  nearer  the  method  of  drawing  in  can 
be  brought  to  a  straight  draft,  the  better  it  will  be  for  the 
weaving  in  every  way. 

As  an  illustration,  suppose  that  the  weave  shown  in  Fig.  30 
was  to  be  used  and  that  it  was  desired  to  make  the  harness 
draft.  By  carefully  noting  the  weave  it  will  be  seen  that  the 
ninth  end  works  like  the  third  and  can  therefore  be  drawn 
through  the  same  harness  as  the  third  end,  which  is  the  third 
harness,  and  also  that  the  tenth  end  works  like  the  fourth  end 


anna 

□BBB 

□BBB 

□BBB 

■■■□□□■a 

□□BDDDBB 

BBDBBBCD 

BDDBBBDD 

□□□BBBCD 

BBB'Ji  :dbb 
SflflmflDB 

BDDD 

BLOB 

H'JBB 

□bdd 

□BHD 

□BBB 

anna 

BDDD 

Fig.  30 

28  ELEMENTARY  TEXTILE  DESIGNING  §71 


and  can  therefore  be  drawn  through  the  harness  with  the 
fourth  end;  thus,  the  harness  draft  could  be  made  out  as 
Fig.  31  (a),  and  woven  with  10  harnesses,  but  it  will  be 

noticed  that  by  so 
doing  a  break  is 
made  in  the  drawing- 
in  draft,  which  makes 
it  more  difficult  to 
draw  in  the  warp 
and  also  more  diffi¬ 
cult  for  the  weaver 
to  draw  in  any  ends 
that  might  break  out  during  weaving.  A  better  plan,  there¬ 
fore,  is  to  draw  the  ends  in  straight  on  12  harnesses,  as 
shown  in  Fig.  31  (b) . 

24.  In  order  that  a  better  understanding  of  this  subject 
may  be  obtained,  suppose  that  it  is  desired  to  draft  the 
weave  shown  in  Fig.  32  in  the  most  practical  manner. 
Examining  this  weave,  it  will  be  seen  that  the  first  3  ends 
are  entirely  different;  therefore,  the  first  end  will  be  drawn 
through  the  first  harness,  the  second  end  through  the  second 
harness,  and  the  third  end  through  the  third  harness.  Next 
it  will  be  seen  that  the  fourth  end  is  like  the  second  and 
therefore  can  be  drawn  through  the  harness  with  the  second 
end;  also  that  the  fifth,  sixth,  seventh,  and  eighth  ends  inter¬ 
lace  in  a  manner  similar  to  the  first,  second,  third,  and  fourth, 
respectively,  and 
therefore  can  be 
drawn  in  the  har¬ 
nesses  in  the  same 
manner  as  the  first 
four;  and  so  on  up 
to  and  including 
the  twenty-fourth  end.  It  will  be  noticed  that  the  twenty- 
fifth  end  works  like  the  ends  drawn  through  the  first 
harness,  while  the  twenty-sixth  works  like  those  drawn 
through  the  third  harness;  therefore,  these  ends  are  drawn 


■■□■■■□a 

BDDDBDDD 

□DBDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 


□□BDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 

□□BDDDBD 

□BBBDBBB 

BBDBBBDB 

BaDDBODD 


□DBDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 

□□BDDDBD 

□BBBDBBB 

BBDBBBDB 

BDDDBDDD 


□BOB 

□BOB 

BDBD 

BDBD 

□  BDB 

□  BDB 
BDBD 
BDBD 


Fig. 32 


□□DDDDDD 

□□□□□□□□ 

□□□ffl 

□□GSD 

DDDDDDDD 

□□□□□□HO 

DDDDDEDD 

□DDDEODD 

DDDfflDDDD 

□DSDDDDD 

□HODDDDD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□DDDEsODD 

□□□□□SDD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□aa 

□□BID 

□ODD 

SIDDD 

□□□□□□□E 

□□□□□□BID 

□□□□□SOD 

□□DDDDDD 

□DDSODDD 

□DSODDDD 

□HODDDDD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

(b) 

(a) 


Fig.  31 


§71  ELEMENTARY  TEXTILE  DESIGNING 


29 


□□($□□□[$□ 

□EDdDEIII® 

□□□□□□□a 


□□SODDHD 

□SODDED® 

□□□DfflDDD 


□ddddddd 

□DDDDDDD 

DDDDOIDDD 


□EDS) 

□□□□ 

mama 


Fig.  33 


12  3 
Fig.  34 


through  the  first  and  third  harnesses,  respectively.  The 
twenty-seventh  end  is  similar  to  the  twenty-fifth,  and  the 
twenty-eighth  is  like  the  twenty-sixth.  If  the  ends  are 
drawn  in  this  manner,  the  harness  draft  will  be  like  Fig.  33 
and  the  chain  draft  like  Fig.  34. 

As  previously  stated,  however,  a  harness  draft  should 
be  made  out  in  such  a  manner  that  the  design  can 
be  woven  as  easily  as  possible.  It  will  readily  be 
understood  that  by  placing  all  the  ends  on  3  harnesses 
they  are  more 
crowded  on 
one  or  more  of 
the  harnesses 

than  if  they  were  placed  on  more  harnesses.  Again,  increas¬ 
ing  the  number  of  ends  in  the  harnesses  always  adds  to  the 
difficulty  the  weaver  has  in  drawing  in  the  broken  ends,  and 
especially  so  if  the  warp  contains  a  large  number  of  ends 
per  inch.  Another  consideration  when  drafting  is  to  have 
as  nearly  as  possible  the  same  number  of  ends  on  each  har¬ 
ness,  for  then  there  will  be  a  uniform  strain  on  the  harness 
motion  of  the  loom;  while  on  the  other  hand,  if  some  har¬ 
nesses  contain  more  ends. than  others,  heavy  and  light  lifts 
are  forced  on  the  loom  mechanism  at  different  times,  and  a 
jerky  movement  of  the  loom  is  generally  the  result. 

By  noticing  Fig.  33,  it  will  be  seen  that  in  one  repeat  of 
the  drawing-in  draft  8  ends  are  drawn  through  the  first  and 
third  harnesses,  while  12  ends  are  drawn  through  the 
second  harness.  As  a  result  of  this  method  it  would 
necessarily  take  more  power  to  lift  the  second  har¬ 
ness  than  the 
first  or  third. 

In  order  to 
remedy  this, 

suppose  that  instead  of  drawing  the  ends  as  shown  in  Fig.  33, 
the  first  end  is  drawn  through  the  first  harness,  the  second 
end  through  the  second  harness,  the  third  end  through  the 
third  harness,  the  fourth  end  through  the  fourth  harness, 
and  that  this  order  is  repeated  until  the  twenty-fifth  end  is 


□□□SJDDDffl 

□ddddddd 

□DDDDDDD 

□□□□HOOD 


□□□mnnnsi 

□DDDDDDD 

□ddddddd 

□□□□muon 


□□Hi®  mm  on] 

□ddddddd 

□ddddddd 

□□□□□□□□ 


□□□□ 

□ddd 

□□□□ 

□□mo 


□□■□ 

□■■■ 

■□■ 

_□□□ 

□□■□ 

□■■■ 

■■□■ 

■□□□ 


Fig. 35 


12  3  4 
Fig.  36 


92—6 


30 


ELEMENTARY  TEXTILE  DESIGNING  §71 


reached,  which  is  drawn  through  the  first  harness,  while  the 
twenty-sixth  end  is  drawn  through  the  third  harness,  the 
twenty-seventh  through  the  first,  and  the  twenty-eighth 
through  the  third.  The  harness  draft  for  the  ends  when 
drawn  in  this  manner  is  shown  in  Fig.  35,  while  Fig.  36 
shows  the  chain  draft  for  this  harness  draft.  It  will  readily 
be  understood  that  such  an  order  of  drawing  in  the  ends  is 
preferable  to  that  shown  in  Fig.  33,  since  the  draft  is  easier 
for  the  weaver  and  drawing-in  girl,  as  well  as  for  the  loom. 


EXAMPLES  FOR  PRACTICE 

1.  Fill  8x8  small  squares  of  design  paper  with  the  plain  weave 
and  show  the  harness  and  chain  drafts  that  would  be  used  if  the  cloth 
were  to  be  woven  on  4  harnesses  with  a  straight  drawing-in  draft. 

2.  A  plain  cloth  is  to  be  woven  on  4  harnesses  with  the  first  end 

drawn  through  the  first  harness,  the  second  end  through 
□■■■□  t^le  third  harness,  the  third  end  through  the  second  harness, 
and  the  fourth  end  through  the  fourth  harness;  show  the 
chain  draft. 

Fig.  37  3.  Show  the  effect  that  would  be  produced  in  the  cloth  by 

using  a  regular  point  draft  with  Fig.  37  for  the  chain  draft. 

4.  (a)  Show  an  irregular  point  draft  on  12  harnesses;  (b)  show 

the  effect  that  would  be  produced,  using  Fig.  7  (a)  for  a  chain  draft. 


ANALYSIS  OF  COTTON 
FABRICS 


PARTICULARS  TO  BE  DETERMINED 
BY  ANALYSIS 


INTRODUCTION 

1.  An  important  part  of  every  designer’s  duties  is  the 
analysis  of  fabrics  that  are  sent  to  the  mill  from  commission 
houses,  from  abroad,  or  from  other  sources  with  a  view  to 
their  reproduction,  either  as  exact  duplicates  or  with  certain 
modifications  that  the  requirements  of  the  buyer  or  the  mill 
may  demand.  This  analysis,  while  seemingly  of  a  secondary 
nature,  is  of  the  utmost  importance,  not  only  in  cases  where 
a  mill  desires  to  manufacture  certain  fabrics  for  which  there 
is,  or  is  likely  to  be,  a  large  demand,  but  also  for  the  pur¬ 
pose  of  gaining  ideas  for  the  production  of  other  fabrics.  By 
the  term  cloth  analysis  is  meant  the  process  of  finding  all 
the  requirements  necessary  to  reproduce  a  certain  fabric  from 
a  given  sample.  It  may  not  be  desired  to  exactly  duplicate 
the  sample,  as  certain  changes  in  the  weight  of  the  goods, 
the  quality  of  the  material  used,  etc.,  are  often  deemed 
advisable  in  order  to  produce  a  fabric,  seemingly  the  same, 
that  can  be  placed  on  the  market  at  less  cost.  Thus,  a  sample 
of  cloth  may  be  given  to  the  designer  with  instructions  either 
to  reproduce  the  goods  exactly,  or  with  certain  alterations 
tending  to  reduce  the  cost  of  the  goods  without  materially 
affecting  the  appearance.  In  the  case  of  a  small  mill  that 


For  notice  of  copyright,  see  page  immediately  following  the  title  page 

l  72 


2 


ANALYSIS  OF  COTTON  FABRICS 


72 


does  not  regularly  employ  a  designer,  this  duty  is  generally 
performed  by  the  superintendent  or  boss  weaver. 

A  sample  of  cloth  may  be  analyzed  by  several  methods, 
but  it  is  only  by  the  systematic  application  of  some  one 
method  derived  from  a  thorough  knowledge  of  the  subject 
that  the  most  economical  and  advantageous  results  are 
obtained.  This  subject  cannot  receive  too  much  study, 
since  it  is  one  with  which  a  designer  must  of  necessity  be  in 
daily  contact.  A  designer  or  student  of  designing  should 
therefore  avail  himself  of  every  opportunity  to  analyze  such 
samples  of  cloth  as  he  may  encounter.  By  this  means  he 
will  become  acquainted  with  many  weaves  and  characteristic 
effects  and  learn  to  associate  them  with  certain  fabrics,  thus 
understanding  them  much  better  than  it  would  be  possible 
to  understand  the  bare  designs  marked  out  on  design  paper. 


2.  In  analyzing  a  sample  of  cloth,  the  following  list  of 
particulars  should  be  found,  the  desired  finished  width  of  the 
cloth  being  given,  of  course,  in  all  cases: 


1. 

Sley  of  cloth  (average  sley  if  necessary) 

8. 

Width  at  reed 

2. 

Ends  in  the  warp 

9. 

Yards  per  pound 

3. 

Warp  pattern  (if  any) 

10. 

Counts  of  warp 

4. 

Number  of  patterns  in  the  warp 

11. 

Counts  of  filling 

5. 

Picks  per  inch 

12. 

Weave 

6. 

Filling  pattern  (if  any) 

13. 

Harness  draft 

7. 

Reed  to  be  used 

14. 

Chain  draft 

There  are  also  other  particulars  that  should  be  considered 
when  reproducing  a  fabric;  these,  however,  will  be  dealt  with 
later.  Several  of  the  items  in  this  list  of  particulars  belong 
to  the  subject  of  cotton-cloth  calculations  and  consequently 
need  no  explanation  here.  In  demonstrating  the  methods  of 
obtaining  the  other  requirements  to  be  found,  the  same  cloth 
sample  will  be  used  that  was  adopted  to  exemplify  methods 
of  making  cotton-cloth  calculations. 


§72  ANALYSIS  OF  COTTON  FABRICS  3 

WARP  PATTERN 

3.  The  warp  pattern  is  a  requirement  that  is  necessary 
only  when  the  cloth  contains  warp  yarns  of  different  colors, 
counts,  or  materials.  To  illustrate  the  method  of  making 
out  a  warp  pattern  it  will  be  assumed  that  it  is  arranged  as 
follows:  1  end  30s  light  blue,  1  end  2/20s  white,  10  ends  30s 
dark  blue,  1  end  2 /20s  white,  10  ends  30s  dark  blue,  1  end 
2/  20s  white,  1  end  30s  light  blue,  4  ends  30s  white,  1  end 
fancy,  4  ends  30s  white,  1  end  fancy,  4  ends  30s  white,  1  end 
fancy,  4  ends  30s  white,  1  end  fancy,  4  ends  30s  white. 

The  above  shows  the  warp  pattern,  but  this  can  be  shortened 
somewhat  and  made  to  appear  to  better  advantage  by  arran¬ 
ging  the  list  in  the  form  of  a  column,  enclosing  with  a  brace 
each  portion  that  is  to  be  repeated  and  indicating  the  number 
of  times  the  part  thus  enclosed  is  to  be  repeated,  as  follows: 

1  end  30s  light  blue 
1  end  2/20s  white 
10  ends  30s  dark  blue 
1  end  2/ 20s  white 
1  end  30s  light  blue 
4  ends  30s  white 
1  end  fancy 
4  ends  30s  white 
49  ends  in  pattern 

Another  convenient  method  of  showing  this  pattern  and 
one  that  is  to  be  recommended  is  as  follows: 


Warp  Pattern 


30s  light  blue  . 

1 

1 

2 

30s  dark  blue  . 

10 

10 

20 

30s  white  .  .  . 

4 

4 

4 

4 

4 

20 

30s  fancy  .  .  . 

2 -ply  20s  white 

1 

1 

1 

.  1 

1 

1 

1 

4 

3 

Total  number  of  ends  in  pattern . 49 


2  X 

4  X 


4 


ANALYSIS  OF  COTTON  FABRICS 


§72 


Or  this  could  be  somewhat  shortened,  as  follows: 


Warp  Pattern 


30s  light  blue . 

1 

1 

2 

30s  dark  blue . 

10 

20 

30s  white . 

4 

4 

20 

30s  fancy  . 

I 

4 

2-ply  20s  white  .... 

1 

1 

3 

2  X  4  X 

Total  number  of  ends  in  pattern  ........  49 


The  marks  2  X  and  4  X  show  that  the  ends  enclosed  with 
a  brace  are  to  be  taken  two  times  and  four  times,  respect¬ 
ively.  By  carefully  comparing  these  last  two  forms,  the 
method  adopted  in  the  second  one  will  be  readily  understood. 

In  the  case  of  a  piece  of  cloth  like  the  sample  that  is  to 
be  used  for  analysis,  the  warp  pattern  would  be  known  as  all 
white,  while  the  stripe  effect  produced  in  the  cloth  would  be 
obtained  by  the  method  of  drawing  the  ends  in  the  reed  and 
the  order  of  raising  the  harnesses. 


FILLING  PATTERN 

4.  By  the  term  filling  pattern  is  meant  the  manner  in 
which  the  filling  is  inserted  in  the  cloth  either  as  regards 
different  colors,  materials,  or  different  counts  of  yarn.  In 
making  put  the  pattern  of  the  filling  in  any  cloth,  it  is  simply 
necessary  to  give  the  number  of  picks  of  each  color  or  count 
in  one  repeat  of  the  pattern;  this  can  be  shown  in  the  same 
manner  as  was  the  pattern  of  the  warp.  In  case  the  filling 
is  all  one  color,  material,  and  counts,  there  will,  of  course,  be 
no  pattern  and  it  will  simply  be  stated  as  all  white,  all  black, 
etc.,  according  to  whatever  color  of  yarn  is  used.  With  the 
sample  of  cloth  used  for  analysis,  the  filling  is  white  and  is 
all  of  the  same  counts;  consequently,  the  pattern  of  the 
filling  would  be  stated  as  all  white. 


§72 


ANALYSIS  OF  COTTON  FABRICS 


5 


PICKING  OUT 

5.  The  weave  is  one  of  the  most  important  particulars  con¬ 
cerning  a  sample  of  cloth,  as  without  the  correct  weave  it  is 
impossible  to  reproduce  the  fabric  with  a  satisfactory  resem¬ 
blance  to  the  original  appearance,  especially  if  the  fabric  has 
a  pronounced  weave  effect  or  a  color  effect  depending  on  the 
weave  for  the  disposition  of  the  color  on  the  face  of  the  cloth. 
The  method  of  obtaining  the  weave  from  a  sample  of  cloth 
will  require  considerable  study  and  practice,  although  after 
the  weaves  of  a  few  samples  have  been  studied  and  success¬ 
fully  obtained  it  will  be  a  comparatively  easy  matter  to  obtain 
the  weaves  of  other  samples;  in  fact,  many  samples  will  be 
met  with  that  will  not  require  much  more  than  a  glance  to 
determine  the  weave.  The  process  of  obtaining  the  weave 
of  a  woven  fabric  is  known  as  dissecting,  or  picking  out, 
although  these  terms  are  sometimes  applied  to  the  entire 
process  of  cloth  analysis.  The  weave  obtained  from  picking 
out  a  sample  of  cloth  is  often  spoken  of  as  a  pick-out.  By 
the  term  weave  is  meant  the  manner  in  which  the  warp 
yarns  and  the  filling  interlace,  and  is  shown  on  design  paper 
by  means  of  filled-in  squares  and  blanks;  that  is,  by  looking 
at  the  weave  as  shown  on  design  paper  it  is  possible  to  deter¬ 
mine  just  how  each  thread  of  the  warp  is  lifted  and  lowered. 

6.  When  obtaining  the  weave  of  a  sample  of  cloth,  the 
first  thing  necessary  is  to  determine  the  face  and  back  of 
the  fabric  and  also  which  threads  form  the  warp  and  which 
the  filling.  These  two  points  will  be  dealt  with  more  fully 
later,  but  the  importance  of  determining  them  before  com¬ 
mencing  to  obtain  the  weave  should  be  mentioned  here.  If 
the  back  of  a  cloth  were  taken  as  the  face,  the  warp  ends 
would  be  up  when  in  reality  they  should  be  down;  the  reverse 
would  also  be  true.  On  the  other  hand,  if  the  filling  were 
considered  as  the  warp,  a  correct  reproduction  of  the  sample 
would  not  be  obtained,  because  the  resulting  weave  would  be 
turned  one-quarter  way  around  on  the  design  paper  instead 
of  occupying  its  actual  position  as  in  the  cloth.  In  a  twilled 


6 


ANALYSIS  OF  COTTON  FABRICS 


2 


cloth  this  would  have  the  effect  of  making-  the  twill  run  in 
the  wrong  direction.  If  the  filling  were  considered  as  the 
warp,  the  weave  would  also  be  reversed,  since  the  filling 
threads  would  be  marked  up  on  the  design  paper  when  in 
reality,  since  they  are  filling  threads,  they  should  be  left 
blank  where  they  float  on  the  surface  of  the  cloth.  After  the 
face  and  back,  also  the  warp  and  filling,  have  been  deter- 


Fig.  i 

mined,  the  sample  should  be  held  in  such  a  manner  that  the 
face  side  will  be  up  and  the  filling  will  run  from  side  to  side. 

7.  The  operation  of  finding  the  weave  of  a  sample  of 
cloth  consists  of  picking  out  one  pick  of  filling  at  a  time  and 
setting  down  on  the  design  paper  the  way  in  which  it  inter¬ 
laces  with  the  warp.  Thus,  if  the  filling  passes  over  the 
first  end,  the  square  on  the  design  paper  representing  where 
that  end  intersects  with  the  pick  under  consideration  will^be 
left  blank,  showing  that  the  warp  is  depressed  and  that  the 


§72 


ANALYSIS  OF  COTTON  FABRICS 


7 


filling  is  on  the  face  of  the  cloth  at  that  point.  If  the  filling 
passes  under  the  next  end,  the  square  on  the  design  paper 
representing  where  the  second  end  intersects  with  the  pick 
of  filling  will  be  filled  in,  showing  that  the  warp  end  is  raised 
over  the  filling  at  that  point. 

8.  Preparation  of  Sample. — Before  commencing  to 
pick  out  a  weave,  the  sample  of  cloth  needs  certain  prepara¬ 
tion  in  order  to  facilitate  the  operation.  Several  ends  from 
the  left  of  the  sample  and  several  picks  from  the  top  should 


Fig.  2 


be  pulled  out.  After  the  picks  have  been  pulled  out,  all  the 
loose  ends  should  be  cut  off,  with  the  exception  of  those 
needed  to  determine  the  weave.  It  is  not  desirable  to  leave 
too  many  ends  at  the  top,  only  sufficient  to  form  one  repeat 
of  the  weave  being  needed.  As  this  number  cannot  always 
be  determined  accurately  until  the  picking  out  is  completed, 
a  number  slightly  in  excess  of  those  probably  required  should 
remain.  When  prepared,  the  sample  will  appear  as  in  Fig.  1, 
which  is  a  slightly  enlarged  photographic  reproduction  of  the 
sample  under  consideration  when  ready  to  be  picked  out. 


8 


ANALYSIS  OF  COTTON  FABRICS 


§72 


9.  After  preparation,  the  sample  should  be  held  in  the 
ieft  hand  and  laid  over  the  first  finger,  as  shown  in  Fig.  2, 
so  that  when  an  end  has  been  dealt  with,  it  can  be  drawn 
under  the  thumb  and  held  out  of  the  way  while  determining 
the  intersection  of  the  next  end;  in  this  manner  it  is  possible 
to  keep  the  ends  separate  and  determine  their  interlacings 
more  readily.  For  manipulating  the  ends  and  picks  when 
determining  the  interlacings  of  the  weave  and  when  remov¬ 
ing  the  picks  from  the  cloth,  an  instrument  known  as  a  pick¬ 
ing-out,  or  dissecting ,  needle  is  used.  This  consists  simply  of 
a  stout  needle,  usually  inserted  in  a  wooden  handle  so  that 
it  may  be  conveniently  grasped. 

A  method  that  may  be  used  to  advantage  in  many  cases  is 
to  lay  the  sample  on  a  white  surface  if  it  contains  dark- 
colored  yarns,  and  on  a  black  surface  if  the  yarns  are  light- 
colored.  By  this  means  the  interlacings  will  often  show  up 
much  more  prominently,  especially  when  working  by  artificial 
light.  When  this  second  method  is  used,  a  pick  glass  will  often 
be  of  great  aid  in  determining  the  interlacings  of  the  warp 
and  filling,  especially  if  the  sample  is  woven  of  fine  yarns  or 
if  it  contains  a  large  number  of  ends  and  picks  per  inch. 
A  pick  glass,  or  linen  tester,  as  it  is  sometimes  called,  is 
a  simple  lens,  or  magnifying  glass,  contained  in  a  suitable 
support;  it  is  also  used  to  enable  the  number  of  ends  or  picks 
per  inch  to  be  readily  counted.  A  pick  glass  with  a  field  of 
less  than  1  inch  is  undesirable  for  purposes  of  analysis. 

In  either  method,  the  next  step  is  to  draw  the  top  pick  up 
a  little  from  the  cloth  until  its  interlacings  with  the  ends  that 
have  been  left  can  be  readily  seen.  Beginning  with  the  end 
on  the  left  and  taking  each  end  in  successive  order,  indicate 
on  the  design  paper  whether  the  pick  of  filling  is  above  or 
below  each  end;  that  is,  if  the  pick  is  above  an  end,  the 
square  on  the  design  paper  is  left  blank;  if  the  pick  of  filling 
is  below  an  end,  the  square  is  marked.  Proceed  in  like 
manner  with  each  end  until  a  repeat  is  found.  It  is  well  to 
carry  the  first  few  picks  out  two  repeats  in  order  to  make 
sure  that  a  repeat  of  the  weave  has  been  found,  after  which 
the  extra  ends  may  be  cut  off,  as  shown  in  Fig.  1. 


72 


ANALYSIS  OF  COTTON  FABRICS 


9 


The  interlacings  of  the  first,  or  top,  pick  should  be  placed 
on  the  top  row  of  squares  on  that  portion  of  the  design  paper 
that  is  intended  to  be  used  and  the  interlacing  of  the  first  end, 
or  the  end  at  the  left,  with  the  first  pick  should  be  shown  on 
the  first  row  of  squares  at  the  left  on  the  design  paper; 
that  is,  the  interlacing  of  the  first,  or  left,  end  with  the  first, 
or  top,  pick  will  be  shown  by  the  square  in  the  upper  left- 
hand  corner  of  the  design  paper.  The  top  pick,  however, 
will  not  be  the  first  pick  to  be  placed  in  the  loom,  since  this 
would  produce  the  cloth  with  the  top  for  the  bottom  and  vice 
versa.  The  last  pick  of  the  pick-out  will  therefore  be  the 
first  pick  to  be  placed  in  the  loom,  and  consequently  the  lower 
left-hand  corner  of  the  weave  when  shown  on  design  paper 
is  considered  to  represent  the  interlacings  of  the  first  end 
and  first  pick.  This  is  difficult  for  a  beginner  to  understand, 
but  it  is  simply  necessary  in  this  connection  to  know  that 
when  a  piece  of  cloth  is  picked  out  after  the  manner  described, 
the  lower  left-hand  square  of  the  design  paper  represents  the 
first  end  and  the  first  pick;  this  is  important  when  building  a 
harness  chain  from  the  draft. 

After  its  interlacings  have  been  found  and  placed  on  the 
design  paper,  the  first,  or  top,  pick  should  be  drawn  out  of 
the  cloth  entirely,  and  the  next  pick  then  drawn  up  among  the 
loose  ends,  as  when  dealing  with  the  first  pick.  The  inter¬ 
lacings  of  this  pick  are  found  and  marked  on  the  design  paper 
on  the  next  horizontal  row  of  squares  below  the  row  marked 
for  the  first  pick.  After  marking  the  interlacings  of  the 
second  pick,  the  third  and  each  successive  pick  is  dealt  with 
in  a  similar  manner  until  one  is  found  that  interlaces  in  a 
manner  similar  to  the  first  pick  taken  out.  This  generally 
indicates  that  the  weave  repeats  at  this  point,  but  it  is  always 
a  good  plan  to  pick  out  3  or  4  picks  of  filling  after  it  is  thought 
that  the  weave  has  commenced  to  repeat,  and  compare  these 
with  the  first  picks  taken  out,  to  make  sure  that  the  weave 
does  repeat  at  this  point.  These  extra  picks  must  of  course 
be  ignored  afterwards  and  only  one  repeat  of  the  weave  used 
when  obtaining  further  particulars.  When  one  repeat  of  the 
weave  is  obtained,  it  represents  what  is  repeated  as  many 


ANALYSIS  OF  COTTON  FABRICS 


10 


§72 


times  as  required  in  the  length  and  width  of  the  same  piece 
of  cloth,  and  therefore,  is  all  that  is  necessary. 

Some  designers  prefer  to  commence  at  the  bottom  of  a 
piece  of  cloth  to  pick  out.  In  this  case,  after  the  interla¬ 
cings  of  the  first  pick  have  been  marked  on  design  paper  it  is 
removed  from  the  cloth  and  the  next  pick  above  it  examined 
and  marked  on  the  design  paper,  but  in  this  case  it  is  set 
down  immediately  above  the  one  that  was  first  marked.  The 
interlacings  of  the  third  pick  taken  from  the  cloth  are  placed 
above  the  second,  and  so  on,  so  that  whether  the  pick-out  is 
commenced  at  the  top  or  the  bottom  of  the  sample,  the  final 
result  as  shown  on  design  paper  will  be  the  same. 

Some  designers  also  pick  out  the  warp  ends  instead  of 
picks  of  filling,  marking  squares  for  picks  depressed  and 
leaving  squares  blank  for  picks  raised. 


10.  The  quickest  plan  of  indicating  the  weave  on  the 
design  paper  when  picking  out  is  to  prick,  with  the  picking- 
out  needle,  the  squares  that  represent  warp  ends  lifted,  and 
then,  after  the  weave  has  been  found,  fill  in  these  squares 
with  ink  or  pencil.  This  makes  it  unnecessary  to  lay  down 
the  picking-out  needle  and  take  up  the  pen  or  pencil  every 
time  a  square  needs  to  be  marked. 

If  the  sample  of  cloth  to  be  dissected  contains  a  large 
number  of  ends  and  picks  per  inch,  or  warp  and  filling  yarns 
of  the  same  shade,  the  yarns  are  liable  to  become  crossed 
and  the  wrong  end  marked  on  the  design  paper.  To  prevent 
this,  it  is  an  advantage  first  to  place  the  warp  threads  in  a 
comb,  attaching  the  ends  together  with  mucilage  between 
two  pieces  of  paper  in  order  to  prevent  their  slipping  back. 
If  the  ends  are  crossed  or  in  a  wrong,  order  when  placed  in 
the  comb,  this  fact  will  be  noticed  before  the  weave  repeats, 
and  by  making  a  note  of  where  these  crossed  ends  should 
be,  they  may  be  recopied  in  their  proper  order  after  the 
repeat  of  the  weave  is  found.  This  method  will  be  found 
useful  with  any  cloth  difficult  to  dissect. 

A  good  aid  in  dissecting  warp-backed  and  double  cloths  is 
to  cut  the  backing  ends,  after  the  necessary  number  of  picks 


§72 


ANALYSIS  OF  COTTON  FABRICS 


11 


have  been  taken  out,  about  i  or  i  inch  shorter  than  the  face 
ends.  If  the  fabric  is  hard  felted  or  has  a  nap,  singe  it  and 
scrape  off  the  fiber,  being  careful  not  to  injure  the  body  of 
the  yarns.  In  many  cases,  where  the  weave  of  a  cloth  is 
regular  and  one  commonly  used,  such  as  a  regular  twill,  it 
will  not  be  necessary  after  a  little  experience  to  pick  out 
more  than  1  or  2  picks,  since  these  will  show  the  manner  of 
the  interlacings  in  the  whole  weave,  which  can  readily  be 
completed  without  dissecting. 

11.  Fig.  3  shows  one  repeat  of  the  weave  of  the  cloth 
sample.  Several  different  results  might  be  obtained  in  pick¬ 
ing  out  this  one  sample  of  cloth,  and  yet  each  be  correct. 
This  would  be  due  to  the  fact  that  the  different  pick-outs 
were  not  started  on  the  same  end  or  the  same  pick,  in  which 
case  the  first  end  of  one  pick-out  would  not  be  the  first  end 


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Fig.  3 


of  the  other,  or  the  first  pick  of  one  would  not  be  the  first 
pick  of  the  other;  or  perhaps  the  pick-out  might  have  been 
started  on  both  a  different  end  and  a  different  pick. 

For  instance,  if  the  cloth  sample  under  consideration  had 
been  so  prepared  that  the  thirteenth  end  of  Fig.  3  was  the 
first  end  at  the  left  of  the  sample,  with  the  top  pick  as  there 
shown  still  the  top  pick,  the  weave  in  Fig.  4  (a)  would  have 
resulted.  If  the  sample  had  been  so  prepared  that  the 
seventh  end  of  Fig.  3  was  the  first  end  at  the  left,  the- weave 
obtained  would  be  that  shown  in  Fig.  4  (b).  Again,  if  the 
sample  had  been  so  prepared  that  the  twenty-eighth  end  of 
Fig.  3  was  the  first  end  at  the  left,  the  pick-out  shown 
in  Fig.  4  (c)  would  have  resulted.  Though  each  weave 
appears  to  be  different  from  the  others,  and  from  Fig.  3,  in 
reality  they  are  all  exactly  alike,  since  if  repeated  several 


12 


ANALYSIS  OF  COTTON  FABRICS 


§72 


times  in  the  cloth  the  same  effect  will  be  produced,  yet 
the  difference  in  their  appearance  is  due  only  to  the  end  on 
which  the  pick-out  is  started. 

In  a  similar  manner,  if  the  pick-out  had  been  started  on  a 
different  pick,  it  would  have  had  a  different  appearance,  or  if 
it  had  been  started  on  a  different  end  and  different  pick  from 
those  shown  in  Fig.  3,  the  resulting  weave  would  have 


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(e> 


Fig.  4 

appeared  still  different.  It  is  usually  customary  to  arrange 
a  combination  weave  of  this  character  after  the  manner 
shown  in  Fig.  3  or  in  Fig.  4  (a).  Designs  are  sometimes, 
however,  arranged  as  shown  in  Fig.  4  ( b )  and  (c) . 

By  referring  to  Fig.  3,  it  will  be  seen  that  the  first  12  ends 
of  the  cloth  sample  consist  of  the  plain  weave,  which  is 
complete  on  2  ends  and  2  picks.  Consequently,  when  pick¬ 
ing  out  a  weave  of  this  kind  it  is  only  necessary  to  take  out 


§72 


ANALYSIS  OF  COTTON  FABRICS 


13 


2  picks  in  order  to  learn  the  weave,  after  which  it  may  be 
continued  for  as  many  ends  and  picks  as  may  be  desired 
by  simply  repeating  the  first  2  ends  and  picks.  With  weaves 
as  simple  as  this  it  will  be  possible,  after  a  little  practice,  to 
place  the  weave  on  the  design  paper  by  simply  observing  the 
cloth  by  means  of  the  pick  glass.  After  the  first  12  ends,  as 
shown  in  Fig.  3,  a  different  weave  is  employed,  and  one 
repeat  of  this  weave  is  complete  on  5  ends,  although  the 
entire  weave  occupies  25  ends.  This  weave  is  known  as  a 
5-end  warp  satin. 

One  of  these  weaves,  namely  the  plain  weave,  is  complete 
on  2  ends  and  2  picks,  while  the  satin  weave  is  complete  on 
5  ends  and  5  picks.  It  might  naturally  be  supposed  that  in 
order  to  show  the  complete  weave  only  5  picks  would  have 
to  be  taken  out,  but  the  two  weaves  must  repeat  together, 
and  a  plain  weave  cannot  repeat  on  an  odd  number  of  picks. 
Consequently,  while  the  satin  weave  would  repeat  on  5  picks, 
the  plain  weave  would  not.  When  two  separate  weaves  are 
combined  in  a  cloth  similar  to  this  one,  the  weave  for  the 
sample  will  not  repeat  in  its  picks  until  it  is  continued  for  a 
number  of  picks  that  is  a  multiple  of  the  numbers  represent¬ 
ing  the  picks  on  which  each  weave  is  complete.  Naturally, 
the  least  common  multiple  will  give  the  number  of  picks  on 
which  the  entire  weave  repeats.  For  example,  the  plain 
weave  is  complete  on  2  picks  and  the  satin  weave  on  5  picks. 
The  least  common  multiple  of  2  and  5  is  10.  Therefore,  the 
entire  weave  is  complete  on  10  picks. 

Another  important  point  that  can  be  illustrated  from  this 
sample  is  the  matching  up  of  two  weaves  when  used  in  the 
same  cloth.  By  again  referring  to  Fig.  3  it  will  be  noticed 
that  the  plain  weave  is  finished  on  the  twelfth  end  and  the 
satin  weave  commences  on  the  thirteenth  end.  In  order  to 
have  the  cloth  show  as  neat  an  effect  as  possible,  these  two 
ends  should  cut,  or  oppose,  each  other;  that  is,  where  a  square 
is  marked  on  the  twelfth  end,  the  next  square  to  it  on  the  thir¬ 
teenth  end  should  be  left  blank.  By  referring  to  Fig.  3  it 
will  be  seen  that  on  the  first  pick  the  twelfth  end  is  down, 
while  the  thirteenth  end  is  up;  thus  they  oppose  each  other. 


14 


ANALYSIS  OF  COTTON  FABRICS 


72 


On  the  second  pick  the  twelfth  end  is  up  and  the  thirteenth 
end  down,  thus  causing  the  2  ends  to  oppose  each  other. 
They  also  cut  on  the  third  pick,  but  on  the  fourth  pick  both 
ends  are  up  and  consequently  do  not  cut.  The  effect  at  this 
point  will  not  be  as  neat  in  the  cloth  as  it  is  where  the  ends 
oppose.  However,  it  is  not  possible  to  have  a  plain  weave 
cut  at  every  point  when  combined  with  a  5-end  satin. 

When  desiring  to  have  two  weaves  cut,  both  places  where 
the  weaves  join  should  be  carefully  noticed;  thus,  in  Fig.  3 
it  will  be  seen  that  the  two  weaves  not  only  join  at  the 
twelfth  and  thirteenth  ends  but  also  at  the  first  and  last,  since 
in  showing  a  second  repeat  of  the  entire  weave,  the  first 
end  would  be  brought  next  to  the  last  end. 

All  cloths  are  not  made  up  of  two  or  more  weaves,  as  this 
is  the  exception  rather  than  the  rule,  and  generally  a  cloth 
will  be  found  to  be  made  from  but  one  weave  repeated  a 
number  of  times. 


HARNESS,  OR  DRAWING-IN,  DRAFTS 
12.  It  is  comparatively  easy  to  make  the  liai'ness  draft 
from  the  weave,  but  regard  should  always  be  had  to  the  best 
manner  of  weaving  the  cloth.  Thus,  by  referring  to  Fig.  3, 
which  is  the  weave  of  the  cloth  sample  shown  in  Fig.  1,  it 
will  be  seen  that  there  are  more  than  twice  as  many  ends  of 
the  satin  stripe  as  there  are  of  the  plain,  and  by  examining 
Fig.  1  it  will  be  noticed  that  these  ends  are  cramped  or 
crowded  together.  In  such  cases  as  this  it  is  generally 
better  to  place  these  ends  on  the  front  harnesses.  As  the 
ends  of  the  satin  weave  will  take  at  least  5  harnesses,  since 
there  are  5  ends  working  differently,  the  ends  forming  the 
satin  stripe,  or  the  last  25  ends  in  Fig.  3,  will  therefore  be 
placed  on  the  5  front  harnesses.  The  reason  for  placing 
these  ends  on  the  front  harnesses  is  that,  as  there  are  more 
of  them,  more  of  them  are  liable  to  break  during  weaving,  and 
it  is  much  easier  for  a  weaver  to  draw  a  broken  end  through 
a  front  harness  than  through  a  back  one.  There  is  also 
not  so  much  strain  on  the  ends  drawn  through  the  front 
harnesses  as  there  is  on  those  drawn  through  the  back; 


§72 


ANALYSIS  OF  COTTON  FABRICS 


15 


consequently,  this  lessens  to  a  certain  degree  the  liability  of 
these  ends  breaking. 

The  ends  forming  the  plain  weave  will  be  drawn  through 
the  harnesses  next  to  the  five  on  which  the  ends  forming  the 
satin  are  drawn.  The  first  12  ends  of  Fig.  3  could  be  drawn 
through  2  harnesses,  since  they  weave  plain  and  every  other 
end  works  alike,  but  it  will  no  doubt  be  found  better  to  draw 
the  ends  through  4  harnesses  instead  of  2  harnesses,  since  by 
this  means  there  will  be  fewer  ends  drawn  through  a  harness, 
which  will  be  found  to  be  an  advantage  in  many  ways.  This 
draft  then  will  call  for  9  harnesses — five  for  the  satin  ends 
and  four  for  the  plain.  If  the  loom  in  which  this  cloth  is  to 
be  woven  cannot  take  this  number  of  harnesses  but  can  take 
seven,  the  weave  must  be  drafted  to  7  harnesses,  which  is 
the  smallest  number  on  which  it  is  possible  for  it  to  be  woven. 

In  many  cases  there  will  be  found  circumstances  that  will 
influence  the  number  of  harnesses  on  which  to  draft  a  weave. 
Some  of  these  have  been  pointed  out  but  many  others  will 
be  met  with  in  practice;  consequently,  a  student  of  designing 
should  be  constantly  looking  for  new  information,  especially 
in  a  weave  room  where  there  is  an  opportunity  for  examining 
a  sample  of  cloth  and  finding  the  lowest  number  of  harnesses 
on  which  it  can  be  woven  and  also  the  actual  number  of 
harnesses  on  which  it  is  being  made.  If  more  harnesses  are 
being  used  than  the  lowest  possible  number,  the  reason 
should  be  learned;  or  on  the  other  hand,  if  the  weave  is 
drafted  to  the  lowest  number  of  harnesses,  the  reason  that 
extra  harnesses  are  not  necessary  should  be  ascertained.  It 
should  be  stated  here  that  with  many  weaves  it  will  not  be 
possible  to  learn  the  exact  number  of  harnesses  that  it  will 
take  by  simply  glancing  at  the  pick-out,  but  it  will  be  neces¬ 
sary  to  study  the  interlacings  of  each  end  separately  and 
Isarn  if  it  is  similar  to  any  other  end  in  the  weave. 

13.  Beginning  with  the  first  end  of  the  pick-out  as  shown 
in  Fig.  3,  this  end  will  be  drawn  through  the  sixth  harness, 
the  second  end  through  the  seventh  harness,  the  third  end 
through  the  eighth  harness,  the  fourth  end  through  the 


92—7 


16 


ANALYSIS  OF  COTTON  FABRICS 


§72 


ninth  harness,  and  then  the  ends  will  commence  to  repeat; 
that  is,  the  next  end  will  be  drawn  through  the  sixth  harness; 
and  so  on  for  the  first  12  ends.  Commencing  next  with  the 
thirteenth  end,  or  the  first  end  of  the  satin  weave,  this  end 
will  be  drawn  through  the  first  harness,  the  fourteenth  end 
through  the  second  harness,  the  fifteenth  end  through  the 
third  harness,  the  sixteenth  end  through  the  fourth  harness, 
and  the  seventeenth  end  through  the  fifth  harness.  At  this 
point  the  ends  will  begin  to  repeat;  that  is,  the  eighteenth  end 
will  be  drawn  through  the  first  harness,  and  so  on.  Fig.  5 
shows  the  harness  draft  complete.  In  Cotton  Cloth  Calcula¬ 
tions  it  was  shown  that  this  cloth  contains  eighty-eight  pat¬ 
terns  and  8  ends  over,  and  since  the  draft  shown  in  Fig.  5 
shows  how  the  ends  in  only  one  repeat  are  drawn  in,  it  must 
be  repeated  eighty-eight  times  in  order  to  draw  in  all  the 


□□□anno® 

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□□□□□□□IS 

□□□□□□mo 

□□□□□HOD 

□□□□□□□□ 

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□□□□!£□□□ 

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□□□□□□no 

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Fig.  5 


ends  in  the  warp.  The  8  extra  ends  are  to  be  used  for  the 
plain;  therefore,  the  person  drawing  in  the  warp  will  finish 
by  drawing  in  8  ends  of  plain  after  finishing  drawing  in  the 
eighty-eight  repeats. 

By  referring  to  Fig.  5,  it  will  be  seen  that  if,  after  one 
repeat  has  been  drawn  in,  the  first  end  of  the  second  repeat 
is  drawn  through  the  sixth  harness,  this  will  bring  the  same 
number  of  ends  on  each  of  the  last  four  harnesses.  But  for 
the  purpose  of  illustration  suppose  that  there  are  only  10  ends 
of  plain;  then  the  last  end  of  plain,  as  shown  in  the  drawing- 
in  draft,  will  be  drawn  through  the  seventh  harness,  and  if 
the  first  end  of  the  second  repeat  is  drawn  through  the  sixth 
harness,  this  will  bring  more  ends  on  the  sixth  and  seventh 
harnesses  than  on  the  eighth  and  ninth.  Consequently,  the 
person  drawing  in  the  warp  can  begin  the  first  end  of  plain  in 
the  second  repeat  on  the  eighth  harness  instead  of  the  sixth. 


§72 


ANALYSIS  OF  COTTON  FABRICS 


17 


This  will  give  the  same  effect  in  the  cloth,  since  the  sixth  and 
eighth  and  the  seventh  and  ninth  harnesses  work  alike;  it 
will  also  give  the  same  number  of  ends  on  each  harness. 

14.  It  is  always  advisable  when  making  out  a  harness 
draft  first  to  make  it  out  in  such  a  manner  that  it  will  be  as 
nearly  a  straight  draw  as  possible;  this  is  a  great  aid  to  the 
weaver  when  drawing  in  broken  ends.  Second,  as  nearly 
as  possible  the  same  number  of  ends  should  be  placed  on 
each  harness;  this  is  a  great  aid  to  the  good  running  of 
the  loom.  Third,  if  it  is  necessary  to  have  more  ends  on 
certain  harnesses  than  on  others,  those  harnesses  with  the 
most  ends  should  be  placed  at  the  front  of  the  loom,  unless 
there  is  a  good  reason  for  not  doing  so. 


CHAIN  DRAFT 

15.  Since  the  eliain  draft  is  obtained  from  the  pick-out 
and  the  harness  draft,  it  is  necessary  to  have  these  two  items 
before  this  draft  can  be  obtained.  By  referring  to  Fig.  5, 
which  shows  the  harness  draft,  it  will  be  seen  that  the  first 
end  is  drawn  through  the  sixth  harness;  therefore,  the  inter¬ 
lacings  of  the  first  end,  as  shown  in  the  pick-out,  must  be  the 
workings  of  the  sixth  harness;  or  in  other  words,  the  inter¬ 
lacings  of  the  first  end,  as  shown  in  the  pick-out,  give  the 
manner  of  raising  and  lowering  the  sixth  harness.  The  second 
end  is  drawn  through  the  seventh  harness;  therefore,  the  inter¬ 
lacings  of  the  second  end,  as  shown  in  the  pick-out,  give  the 
manner  of  raising  and  lowering  the  seventh  harness.  The 
third  end  is  drawn  through  the  eighth  harness,  and  conse¬ 
quently  the  eighth  harness  will  be  raised  and  lowered  as 
indicated  by  the  third  end  of  the  pick-out.  The  fourth  end 
is  drawn  through  the  ninth  harness,  and  the  operation  of  this 
harness,  as  shown  in  the  chain  draft,  will  be  the  same  as  the 
fourth  end  shown  in  the  pick-out.  The  fifth  end  is  drawn 
through  the  sixth  harness,  but  since  the  working  of  this  har¬ 
ness  has  already  been  obtained  nothing  more  needs  to  be  done 
with  this.  The  same  is  true  of  all  the  ends  until  the  thirteenth 


18 


ANALYSIS  OF  COTTON  FABRICS 


§72 


is  reached,  which  is  drawn  through  the  first  harness;  conse¬ 
quently,  the  interlacing  of  the  thirteenth  end,  as  shown  in 
the  pick-out,  will  give  the  workings  of  the 
first  harness.  For  the  same  reason,  the  sec¬ 
ond  harness  will  work  like  the  fourteenth  end 
of  the  pick-out;  the  third  harness  will  work 
like  the  fifteenth  end  of  the  pick-out;  the 
fourth  harness,  like  the  sixteenth  end;  and 
the  fifth  harness,  like  the  seventeenth  end. 
This  will  complete  the  chain  draft,  since  the 
manner  of  raising  and  lowering  all  the  harnesses  has  been 
learned.  Fig.  6  shows  the  completed  chain  draft  made  from 
the  harness  draft,  Fig.  5,  and  the  pick-out,  Fig.  3. 


fl 

□ 

B 

□■■■■■□■ 

1  1 

■■□■■□an 

B 

BBBBDBDB 

1  1 

BDBBBDBD 

B 

BBBDBBOB 

1  J 

□BBBBDBD 

B 

BBDBBBDB 

□ 

Fig.  6 


ADDITIONAL  POINTS  TO  BE  DETERMINED  BY 
'  ANALYSIS 

16.  In  addition  to  the  requirements  listed  in  Art.  2, 
there  are  several  items  that  must  in  most  cases  be  deter¬ 
mined  when  analyzing  a  fabric.  Some  of  these  items  are 
unnecessary  in  themselves,  but  must  be  ascertained  in  order 
that  still  others  may  be  accurately  found.  These  items  are 
as  follows:  (1)  determination  of  face  and  back  of  fabric; 
(2)  determination  of  warp  and  filling;  (3)  determination 
of  the  direction  of  twist  in  warp  and  filling;  (4)  finding 
the  percentage  of  contraction  in  the  length  of  the  warp 
during  weaving;  (5)  the  number  of  beams  necessary  for 
the  warp  yarn;  (6)  the  raw  material. 


DETERMINATION  OF  FACE  OF  FABRIC 

17.  As  previously  explained,  when  desiring  to  find  the 
pick-out  of  a  sample  of  cloth  it  is  always  necessary  first  to 
determine  which  is  the  face  and  which  is  the  back,  in  order 
that  the  results  obtained  may  be  accurate  for  reproducing 
the  cloth. 

In  most  fabrics  this  is  easily  done,  although  some  cloths 
baffle  the  most  experienced  designer.  The  face  of  a  cotton 


72 


ANALYSIS  OF  COTTON  FABRICS 


19 


fabric  will  sometimes  show  a  much  clearer  and  better  pattern 
than  the  back.  By  noticing  the  cloth  sample  that  has  been 
dealt  with,  it  will  be  seen  that  the  satin  stripe  on  one  side  of 
the  cloth  shows  up  much  more  prominently  than  it  does  on 
the  other  side.  The  side  that  shows  the  design  more  promi¬ 
nently  is  the  face.  When  the  fabric  is  a  backed  or  double 
cloth,  the  face  can  be  readily  distinguished  from  the  back  by 
means  of  the  style  of  the  cloth  or  the  finish.  When  dealing 
with  warp-backed  fabrics,  the  face  can  be  readily  distin¬ 
guished  from  the  back,  since  in  this  case  there  will  be  ends 
floating  for  some  distance  at  the  back.  In  a  filling-backed 
fabric,  the  backing  filling  floats  on  the  back  of  the  cloth  and 
is  generally  a  soft-twisted  yarn  in  order  to  give  bulk  to  the 
cloth. 


DETERMINATION  OF  WARP 

18.  There  are  several  methods  by  which  the  warp  may 
be  distinguished  from  the  filling.  If  the  sample  submitted 
for  analysis  contains  a  part  of  the  selvage,  the  warp  can  be 
readily  distinguished  from  the  filling,  since  the  selvage  ends 
always  run  in  the  direction  of  the  warp.  In  many  cases  the 
body  of  the  cloth  will  be  found  to  be  woven  from  single  yarn, 
while  the  selvage  is  woven  from  2-ply,  or  double,  yarn.  If 
the  yarns  in  one  system  are  harder  twisted,  or  have  more 
turns  of  twist  per  inch,  than  those  in  the  other,  the  harder- 
twisted  yarns  are  generally  the  warp  yarns.  If  the  sample 
of  cloth  has  what  is  called  a  face  finish,  or  nap,  the  direction 
of  the  nap  indicates  the  warp,  since  these  cloths  have  passed 
through  the  machine  in  the  direction  of  the  warp.  The 
counts,  or  numbers,  of  the  yarn  used  in  each  system  will 
often  assist  in  indicating  which  is  the  warp  and  which  is  the 
filling,  since  in  many  cases  the  warp  yarns  are  of  coarser 
counts  than  the  filling.  If  in  any  case  one  series  of  yarn  is 
of  different  materials,  such  as  cotton  and  wool  or  cotton  and 
silk,  while  the  other  series  of  yarn  is  of  one  system,  the 
series  of  yarn  that  is  composed  of  different  systems  is  gen¬ 
erally  the  warp  yarn,  although  this  is  not  an  invariable  rule. 
If  one  system  of  yarns  has  been  sized  and  the  other  has 


20 


ANALYSIS  OF  COTTON  FABRICS 


§72 


not,  the  former  is  the  warp.  This  is  difficult  to  determine 
after  the  cloth  has  been  finished,  but  is  a  good  test  for  brown 
— i.  e.,  unbleached — cotton  goods.  If  the  sample  contains 
reed  marks,  they  will  indicate  the  warp,  since  they  always 
run  warp-way.  These  marks  are  caused  by  the  reed  wires 
getting  out  of  place,  thereby  crowding  some  of  the  ends  near 
them  and  allowing  others  too  much  space.  In  any  fabric  of 
a  striped  character,  or  in  a  checked  effect  in  which  one  direc¬ 
tion  of  the  lines  is  prominent  compared  with  the  other,  the 
direction  of  the  stripes  or  the  prominent  lines  in  the  check 
usually  indicate  the  direction  of  the  warp.  The  twill,  if  the 
design  is  a  twill,  generally  runs  up  diagonally  from  the  left 
to  the  right,  so  that  if  the  face  of  the  cloth  is  ascertained  it 
will  be  readily  seen  which  is  warp  and  which  is  filling.  If  one 
series  of  yarns  is  ply  and  the  other  single,  the  ply  yarns  are 
generally  the  warp.  In  samples  of  cloth  similar  to  that  con¬ 
sidered  x'n  this  Section,  the  stripes  always  run  warp-way. 


DETERMINATION  OF  TWIST 

19.  By  the  term  twist  of  yarn  is  meant  both  the  direc¬ 
tion  of  the  twist  and  also  the  amount  of  twist;  that  is,  the 
number  of  turns  of  twist  per  inch  placed  in  the  yarn.  The 
direction  of  the  twist  of  the  yarns  in  a  cloth  becomes  an 
important  matter  when  reproducing  cloth,  since  a  different 
effect  will  sometimes  be  produced  by  simply  changing  the 
twist  in  either  the  warp  or  filling.  Yarns  may  be  twisted  in 
one  of  two  directions,  which  are  technically  known  as  right 
twist  and  left  twist.  There  is  considerable  difference  of 
opinion  as  to  what  constitutes  a  right-twist  or  a  left-twist 
yarn,  as  some  mills  consider  as  right-twist  what  other  mills 
consider  left-twist  yarn.  However,  the  character  of  the  yarns 
to  which  these  names  are  most  commonly  applied  will  be 
explained  here. 

By  holding  the  yarn  between  the  thumb  and  forefinger  of 
each  hand,  the  direction  of  the  twist  may  be  learned.  If 
when  turning  the  yarn  from  the  body  with  the  right  hand  it 
is  twisted  harder,  it  is  left-twist;  but  if  the  yarn  is  untwisted 


§72 


ANALYSIS  OF  COTTON  FABRICS 


21 


when  turned  in  this  manner,  it  is  right-twist.  Another 
method  of  determining  the  twist  of  the  yarn  is  to  observe 
which  way  the  twist  marks  on  the  surface  of  the  thread  are 
inclined  when  the  thread  is  held  upright.  If  they  slant  up  to 
the  left,  the  yarn  is  left-twist;  if  up  to  the  right, 
it  is  right-twist.  This  is  the  method  adopted  with 
screws  for  determining  the  twist  of  the  screw 
thread.  Fig.  7  represents  a  yarn  that  would  be 
known  as  a  right-twist  yarn,  while  Fig.  8  illus¬ 
trates  a  left-twist  yarn.  By  closely  examining 
the  warp  yarns  in  the  sample,  it  will  be  seen 
that  they  are  right-twist. 

As  previously  stated,  twist  also  refers  to  the  I<IG-7  FlG'8 
number  of  turns  of  twist  that  are  put  in  the  yarn  in  1  inch. 
In  case  of  a  ply  yarn  this  can  be  readily  ascertained  by 
putting  the  yarn  under  the  pick  glass;  or  it  can  be  found 
with  more  accuracy  by  untwisting  a  given  length  of  yarn 
and  dividing  the  number  of  turns  of  twist  by  the  number  of 
inches  measured. 


Fig.  9 


20.  Twist  Counter. — The  amount  of  twist  in  any  yarn 
may  be  determined  by  means  of  an  instrument  made  for  the 
purpose  of  untwisting  the  yarn  and  registering  the  number 
of  revolutions  made  in  taking  out  all  the  twist;  this  instru¬ 
ment  is  known  as  a  twist  counter.  The  simplest  and 
most  commonly  used  form  is  shown  in  Fig.  9.  It  consists 


22 


ANALYSIS  OF  COTTON  FABRICS 


72 


primarily  of  two  jaws,  one  of  which  b  is  capable  of  adjust¬ 
ment  on  a  bar  a;  the  other  jaw  c  may  be  rotated,  the  exact 
number  of  turns  that  it  makes  being  indicated  on  a  graduated 
dial  d.  The  counter  is  adapted  for  finding  the  number  of 
turns  in  a  sample  of  yarn  from  1  to  10  inches  in  length, 
whether  right  or  left  twist.  The  yarn  is  held  firmly  by  the 
jaws  at  a  given  distance  apart  as  indicated  by  the  position 
of  b  on  «;  the  jaw  c  is  then  rotated  until  all  the  twist  is  taken 
out  of  the  yarn,  the  instrument  recording  the  number  of 
turns  on  the  dial  d. 


TAKE-UP  IN  WEAVING 

21.  In  making  out  an  order  for  the  amount  of  warp  yarn 
to  be  run  through  the  slasher  for  any  loom  beam,  it  will  be 
necessary  to  learn  the  probable  percentage  of  contraction  that 
will  take  place  during  weaving.  For  instance,  if  it  is  desired 
to  produce  500  yards  of  cloth  from  a  warp  on  one  loom 
beam,  a  somewhat  larger  number  of  yards  of  warp  yarn  will 
have  to  be  placed  on  the  beam,  owing  to  the  contraction  that 
will  take  place  during  weaving.  The  manner  of  ascertaining 
the  contraction  of  any  cloth  during  weaving  was  dealt  with 
in  Cotton  Cloth  Calculations ,  but  it  should  be  borne  in  mind  that 
no  hard-and-fast  rules  can  be  laid  down  for  contraction  of 
warp  yarns,  as  this  is  largely  a  matter  of  experience,  since 
some  weaves  take  up  much  more  than  others  during  weaving. 
The  kind  of  weave,  the  counts  of  the  warp  and  filling,  and 
the  number  of  picks  per  inch  are  the  most  important  factors 
that  regulate  the  take-up  of  the  warp,  and  these  should 
always  be  carefully  considered  when  desiring  to  learn  the 
number  of  yards  of  warp  necessary  to  weave  a  certain  number 
of  yards  of  cloth. 

NUMBER  OF  BEAMS  REQUIRED 

22.  In  many  cases,  when  desiring  to  reproduce  a  sample 
of  cloth,  it  will  be  necessary  to  place  the  warp  yarns  on 
different  beams.  In  some  cases  as  many  as  four  beams  are 
used.  For  instance,  in  case  a  weave  that  interlaces  only 
once  in  6  or  8  picks  is  combined  with  plain  cloth,  the  part  of 


72 


ANALYSIS  OF  COTTON  FABRICS 


23 


the  warp  yarn  that  forms  the  plain  weave  will  be  taken  up 
more  rapidly  than  the  other.  In  such  a  case  it  will  be 
necessary  to  place  those  ends  that  form  the  plain  weave  on 
an  entirely  separate  beam,  since  if  this  were  not  done  the 
ends  of  the  plain  weave  contracting  so  much  more  than  the 
other  ends  would  cause  the  latter  to  work  slack  and  thus 
cause  a  defective  cloth.  In  some  cases  a  cloth  may  be 
regular,  therefore  apparently  requiring  only  one  beam,  with 
the  exception  that  at  certain  intervals  there  will  be  a  fancy 
thread  that  will  have  different  interlacings  from  the  body  of 
the  cloth  in  order  that  it  may  produce  some  desired  effect. 
In  this  case  the  fancy  threads  are  placed  on  a  separate  beam 
or,  if^there  are  only  a  few,  they  are  wound  on  a  spool,  which 
may  be  adjusted  at  the  back  of  the  loom. 

When  dissecting  any  cloth,  to  determine  the  number  of 
beams  required,  the  weave  should  be  carefully  considered. 
If  the  cloth  is  made  entirely  from  one  weave,  it  will  be 
simply  necessary  to  use  one  beam,  but  in  cases  where  the 
cloth  is  woven  with  separate  weaves,  it  will  be  necessary  to 
study  these  weaves  carefully  and  to  ascertain  whether  one  will 
take  up  more  than  the  other.  The  most  essential  point  to 
notice  is  the  number  of  interlacings  that  each  weave  makes 
in  a  certain  space.  For  instance,  the  ends  of  one  weave 
may  interlace  with  the  filling  six  times  in  a  certain  number 
of  picks,  while  the  ends  of  another  weave  may  interlace 
twelve  times  in  the  same  number  of  picks.  When  such  is 
the  case,  the  ends  interlacing  the  greater  number  of  times 
will,  of  course,  take  up  much  more  than  the  others,  on 
account  of  their  having  to  bend  around  the  filling  much 
more  frequently;  consequently,  it  will  be  found  best  in  such 
instances  to  place  the  two  systems  of  yarns  on  separate 
beams. 

Double  cloths  and  cloths  backed  with  warp  often  require 
two  beams,  one  for  the  face  warp  and  one  for  the  back  warp, 
since  the  back  weave  is  generally  different  and  also  because 
coarser  yarns  are  used  for  the  back  of  the  fabric.  If  the 
same  yarn  and  weave  are  used  for  the  back  as  for  the  face  of 
a  double  cloth,  both  warps  can  be  put  on  one  beam. 


24 


ANALYSIS  OF  COTTON  FABRICS 


§72 


DETERMINATION  OF  RAW  MATERIAL 

23.  In  many  fabrics  there  is  a  mixture  of  materials;  for 
instance,  cotton  and  woolen  or  worsted  yarns  are  often  used 
in  the  same  fabric,  as  well  as  cotton  and  silk.  In  such  cases 
it  will  be  necessary  to  determine  which  yarns  are  of  one 
material  and  which  are  of  another.  The  readiest  method  of 
ascertaining  the  difference  between  animal  and  vegetable 
fibers  is  to  burn  some  of  the  yarn.  Vegetable  fibers  are  com¬ 
posed  of  carbon,  hydrogen,  and  oxygen,  and  when  burned 
will  make  a  flame,  emit  no  odor,  and  leave  an  ash.  Animal 
fibers  are  composed  of  the  same  elements  together  with  nitro¬ 
gen,  and  when  burned  will  not  flame,  but  smoulder,  coil  up, 
and  form  into  a  small,  crisp  globule.  They  are  also  distin¬ 
guished  by  a  peculiar  odor  that  is  similar  to  that  of  burned 
horn  or  feathers.  A  knowledge  of  the  different  fibers  is  also 
a  great  aid  in  determining  the  different  materials  in  case 
threads  of  different  fibers  are  used  in  the  same  fabric. 
Silk  can  generally  be  distinguished  from  either  cotton,  wool, 
or  worsted  by  its  incomparable  luster  and  also  by  the  fact 
that  it  is  generally  finer.  However,  mercerized  cotton,  which 
also  has  a  remarkable  luster,  should  not  be  confounded  with 
silk.  These  two  yarns  may  be  distinguished  by  burning,  as 
silk  is  an  animal  fiber  while  cotton  is  a  vegetable  fiber. 

Linen  may  be  distinguished  from  cotton  from  the  fact 
that  the  thread  is  rougher  and  contains  uneven  bunches. 
It  may  also  be  distinguished  from  cotton  by  its  harsher 
feeling. 

In  case  it  is  desired  to  learn  the  percentage  of  the  different 
materials  in  fancy  threads,  such  as  cotton  and  wool  or  cotton 
and  silk  mixed,  or  to  determine  the  proportions  of  each 
material  in  a  yarn  made  from  two  or  more  different  kinds 
of  raw  stock,  it  will  be  necessary  to  make  chemical  tests. 
When  a  sample  of  yarn  or  cloth  is  to  be  tested  in  this  manner 
it  should  first  be  thoroughly  washed  so  as  to  remove  any 
sizing  or  foreign  matter  that  may  exist.  Afterwards  dry  it 
thoroughly  and  weigh  it  if  the  percentage  of  each  kind  of 
material  is  desired. 


72 


ANALYSIS  OF  COTTON  FABRICS 


25 


24.  The  following  tests  will  cover  the  separation  of  silk, 
cotton,  wool,  or  linen  that  may  be  combined  in  one  yarn  or 
cloth.  To  separate  wool  from  cotton,  leaving  the  cotton: 
Clean,  weigh,  and  then  boil  the  sample  gently  for  2  hours  in 
an  8°  B.  solution  of  caustic  potash;  then  wash  and  dry. 
During  the  boiling  a  few  drops  of  water  are  added  from  time 
to  time  to  prevent  the  alkali  from  becoming  too  concentrated. 
After  drying  at  100°  C.  (212°  F.),  the  residue  is  weighed, 
which  gives  the  weight  of  cotton,  the  loss  being  the  weight 
of  the  wool.  Instead  of  potash,  a  7°  B.  solution  of  caustic 
soda  may  be  used,  and  the  sample  boiled  for  15  minutes. 

Note. — B.  means  Baume  and  refers  to  the  graduated  scale  on 
Baume's  hydrometer  used  for  determining  the  density  of  a  solution. 

25.  To  separate  cotton  from  wool,  leaving  the  wool: 
Immerse  the  sample  in  ammoniacal  copper  oxide  for  20  min¬ 
utes,  after  which  add  water  to  the  solution;  then  filter  and 
wash,  dry  and  weigh  the  residue.  The  weight  will- be  the 
amount  of  wool  in  the  mixture. 

26.  To  separate  silk,  cotton,  and  wool:  Take  two  sam¬ 
ples  each  of  the  same  weight;  boil  them  from  \  to  }  hour  in  a 
3°  B.  solution  of  hydrochloric  acid  to  remove  the  sizing,  etc.; 
then  wash  them.  Immerse  one  sample  in  a  boiling  solution 
of  basic  zinc  chloride  for  a  short  time;  then  wash  thoroughly, 
first  in  acidified  and  then  in  clean  water,  and  dry  it.  The  loss 
in  weight  gives  the  amount  of  silk.  Boil  the  second  sample 
for  15  minutes  in  a  7°  B.  solution  of  caustic  soda,  and  then 
wash  and  dry  it.  The  residue  is  cotton,  to  the  air-dry 
weight  of  which  must  be  added  about  5  per  cent,  to  compen¬ 
sate  for  the  loss  of  the  fiber  during  the  operation.  The 
difference  between  this  and  the  original  weight  represents 
the  weight  of  wool. 


ANALYSIS  OF  WOOLEN 
AND  WORSTED  FABRICS 


PARTICULARS  TO  BE  DETERMINED  BY 
ANALYSIS 


INTRODUCTION 

1.  An  important  part  of  every  designer’s  duties  is  the 
analysis  of  fabrics  that  are  sent  to  the  mill  from  commission 
houses,  from  abroad,  or  from  other  sources  with  a  view  to 
their  reproduction,  either  as  exact  duplicates  or  with  certain 
modifications  that  the  requirements  of  the  buyer  or  the  mill 
may  demand.  This  analysis,  while  seemingly  of  a  secondary 
nature,  is  of  the  utmost  importance,  not  only  in  cases  where 
a  mill  desires  to  manufacture  certain  fabrics  for  which  there 
is,  or  is  likely  to  be,  a  large  demand,  but  also  for  the  purpose 
of  gaining  ideas  for  the  production  of  other  fabrics.  By  the 
term  cloth  analysis  is  meant  the  process  of  finding  all  the 
requirements  necessary  to  reproduce  a  certain  fabric  from  a 
given  sample.  It  may  not  always  be  desired  exactly  to  dupli¬ 
cate  the  sample,  as  certain  changes  in  the  weight  of  the  goods, 
the  quality  of  the  material  used,  etc.,  are  often  deemed  advis¬ 
able  in  order  to  produce  a  fabric,  seemingly  the  same,  that 
can  be  placed  on  the  market  at  less  cost.  Thus,  a  sample  of 
cloth  may  be  given  to  the  designer  with  instructions  either  to 
reproduce  the  goods  exactly  or  else  with  certain  alterations 
tending  to  reduce  the  cost  of  the  goods  without  materially 
affecting  the  appearance.  In  the  case  of  a  small  mill  that 


For  notice  of  copyright,  see  page  immediately  following  the  title  page 


ANALYSIS  OF 


2 


§73 


does  not  regularly  employ  a  designer,  this  duty  is  generally 
performed  by  the  superintendent  or  boss  weaver. 

A  sample  of  cloth  may  be  analyzed  by  several  methods, 
but  it  is  only  by  the  systematic  application  of  some  one 
method  derived  from  a  thorough  knowledge  of  the  subject 
that  the  most  economical  and  advantageous  results  are 
obtained.  This  subject  cannot  receive  too  much  study,  since 
it  is  one  with  which  a  designer  must  of  necessity  be  in  daily 
contact.  A  designer  or  student  of  designing  should  there¬ 
fore  avail  himself  of  every  opportunity  to  analyze  such  sam¬ 
ples  of  cloth  as  he  may  encounter.  By  this  means  he  will 
become  acquainted  with  many  weaves  and  color  effects  and 
learn  to  associate  them  with  certain  fabrics,  thus  under¬ 
standing  them  much  better  than  it  would  be  possible  to 
understand  the  bare  designs  marked  out  on  design  paper. 

2.  In  analyzing  a  sample  of  cloth  the  following  list  of 
particulars  should  be  found,  the  desired  finished  width  of  the 


cloth  being  given,  of  course, 

in  all 

cases: 

1. 

Weight  of  1  yard,  given  width 

11. 

Weight  of  warp  yarn,  each 

2. 

Ends  per  inch  in  finished  cloth 

color 

3. 

Picks  per  inch  in  finished  cloth 

12. 

Weight  of  filling  yarn,  each 

4. 

Warp  pattern  (if  any) 

color 

5. 

Ends  in  pattern 

13. 

Reed  and  ends  per  dent 

6. 

Ends  in  warp 

14. 

Width  in  reed,  including  sel¬ 

7. 

Patterns  in  warp 

vages 

8. 

Filling  pattern  (if  any) 

15. 

Weight  from  loom,  including 

9. 

Counts  of  warp  in  finished 

selvages 

cloth 

16. 

Weave 

10. 

Counts  of  filling  in  finished 

17. 

Harness,  or  drawing-in,  draft 

cloth 

18. 

Chain  draft 

Many  of  these  items  belong  to  the  subject  of  cloth  calcula¬ 
tions  and  therefore  will  not  require  any  further  explanation. 
In  demonstrating  the  methods  of  obtaining  the  other  require¬ 
ments  to  be  found,  reference  will  be  made  to  the  same  sample 
of  cloth  that  was  used  in  dealing  with  the  subject  of  woolen- 
and  worsted-cloth  calculations.  In  addition  to  the  require¬ 
ments  given  in  the  above  list  there  are  several  of  minor 
importance  that  should  be  considered  when  reproducing  a 
fabric;  these,  however,  will  be  dealt  with  later. 


§73 


WOOLEN  AND  WORSTED  FABRICS 


3 


WARP  PATTERN 

3.  The  warp  pattern  is  a  requirement  that  is  necessary 
only  when  the  cloth  contains  warp  yarns  of  different  colors, 
counts,  or  materials.  There  are  several  methods  according 
to  which  a  warp  pattern  may  be  made  out.  The  best  is  that 
which  employs  a  diagram  to  separate  the  colors,  since  there 
is  then  less  liability  of  confusion  and  mistakes.  In  the  sample 
of  cloth  under  consideration  the  yarns  are  arranged  in  the 
warp  12  ends  of  brown  and  12  ends  of  white;  its  pattern  is 
indicated,  according  to  the  method  above,  as  follows: 


Warp  Pattern 


Brown . 

12 

12 

White . 

12 

12 

Total  number  of  ends  in  pattern . 24 


4.  As  the  above  is  a  very  simple  pattern,  a  more  com¬ 
plicated  one  will  also  be  taken  for  the  purpose  of  illustration. 
Suppose  this  pattern  to  be  as  follows:  1  end  of  light  blue, 
1  end  of  white,  10  ends  of  dark  blue,  1  end  of  white,  10  ends 
of  dark  blue,  1  end  of  white,  1  end  of  light  blue,  4  ends  of 
slate,  1  end  of  fancy,  4  ends  of  slate,  1  end  of  fancy,  4  ends 
of  slate,  1  end  of  fancy,  4  ends  of  slate,  1  end  of  fancy,  4  ends 
of  slate.  The  same  method  is  applied  to  this  pattern  as 
to  the  previous  one,  thus: 

Warp  Pattern 


4 


ANALYSIS  OF 


§73 


In  a  pattern  like  the  one  given,  where  there  is  a  repetition 
of  certain  combinations  of  ends  in  the  pattern  itself,  the 
representation  of  the  pattern  can  be  reduced  as  follows: 


Warp  Pattern 


Light  blue  .... 

1 

1 

2 

Dark  blue  .... 

10 

20 

Slate  . 

4 

4 

20 

Fancy  . 

1 

4 

White . 

1 

1 

3 

2  X  4  X 

Total  number  of  ends  in  pattern . 49 


2  X  4  X 

Total  number  of  ends  in  pattern . 49 


The  marks  2  X  and  4  X  indicate  that  the  combinations  of 
ends  enclosed  with  a  brace  are  taken  two  and  four  times, 
respectively.  By  carefully  comparing  these  two  forms  the 
method  adopted  in  the  second  will  be  readily  understood  and 
it  will  be  seen  that  both  patterns  are  the  same.  Another 
common  method  of  indicating  a  warp  pattern  is  to  arrange 
the  list  of  colors  in  the  form  of  a  column,  enclosing  with 
a  brace  each  portion  that  is  to  be  repeated  and  indicating  the 
number  of  times  that  the  part  thus  enclosed  is  to  be  repeated. 
With  the  pattern  previously  shown  this  would  be  as  follows: 


2  X 

4  X 


1  end  light  blue 
1  end  white 
10  ends  dark  blue 
1  end  white 
1  end  light  blue 
4  ends  slate 
1  end  fancy 
4  ends  slate 
49  ends  in  pattern 


73 


WOOLEN  AND  WORSTED  FABRICS 


5 


FILLING  PATTERN 

5.  By  the  term  filling  pattern  is  meant  the  manner  in 
which  the  filling  is  inserted  in  the  cloth,  either  as  regards 
different  colors,  materials,  or  counts  of  yarn.  In  making  out 
the  pattern  of  the  filling  of  any  cloth,  it  is  simply  necessary 
to  give  the  number  of  picks  of  each  color  or  count  in  one 
repeat  of  the  pattern;  this  can  be  shown  in  the  same  manner 
as  the  pattern  of  the  warp.  In  case  the  filling  is  all  of  one 
color,  material,  and  counts,  there  will  of  course  be  no  pattern 
and  it  will  simply  be  stated  as  all  white,  all  black,  etc., 
according  to  whatever  color  of  yarn  is  used.  In  the  sample 
of  cloth  under  consideration  the  filling  pattern  is  exactly  the 
same  as  the  warp  pattern,  which  has  previously  been  given. 


DISSECTING,  OR  PICKING  OUT 

0.  The  weave  is  one  of  the  most  important  particulars 
concerning  a  sample  of  cloth,  as  without  the  correct  weave 
it  is  impossible  to  reproduce  the  fabric  with  a  satisfactory 
resemblance  to  the  original,  especially  if  the  fabric  has  a 
pronounced  weave  effect  or  a  color  effect  depending  largely 
on  the  weave  for  the  disposition  of  the  color  on  the  face  of 
the  cloth.  The  method  of  obtaining  the  weave  will  require 
considerable  study  and  practice,  although  after  the  weaves 
of  a  few  samples  of  cloth  have  been  studied  and  successfully 
obtained  it  will  be  a  comparatively  easy  matter  to  obtain  the 
weaves  of  other  samples;  in  fact,  many  samples  will  be  met 
with  that  will  not  require  much  more  than  a  glance  to 
determine  the  weave.  The  process  of  obtaining  the  weave 
from  a  woven  fabric  is  commonly  known  as  dissecting,  or 
picking  out,  although  these  terms  are  sometimes  applied 
to  the  whole  process  of  cloth  analysis.  The  weave  obtained 
from  picking  out  a  sample  of  cloth  is  often  spoken  of  as 
a  pick-out. 

By  the  term  weave  is  meant  the  manner  of  interlacing  the 
warp  and  filling,  this  being  shown  on  design  paper  by  means 
of  filled-in  squares,  or  risers ,  which  represent  the  warp 


92—8 


6  ANALYSIS  OF  §73 

floating-  over  the  filling,  and  blank  squares,  or  sinkers,  which 
represent  the  filling  floating  over  the  warp. 

7.  When  a  sample  of  cloth  is  to  be  picked  out,  the  first 
thing  to  be  determined  is  the  face  and  back  of  the  fabric 
and  also  which  system  of  threads  constitutes  the  warp  and 
which  the  filling.  These  two  points  will  be  further  dis¬ 
cussed  later,  but  the  importance  of  determining  these  par¬ 
ticulars  before  starting  to  pick  out  the  weave  should  be 
mentioned  here.  If  the  back  of  the  cloth  were  taken  for  the 
face,  the  warp  ends  would  be  up  when  in  reality  they  should 
be  down  and  down  when  they  should  be  up.  On  the  other 
hand,  if  the  filling  were  considered  as  the  warp,  a  correct 
pick-out  could  not  be  obtained,  since  filling  threads  would  be 
marked  up  on  the  design  paper  when  in  reality,  since  they 
are  filling  threads,  they  should  be  left  blank;  and  at  the  same 
time  the  weave  obtained  would  be  turned  one-quarter  way 
around.  In  a  twilled  cloth  this  latter  would  have  the  effect 
of  making  the  twill  run  in  the  wrong  direction.  After  the 
face  and  back,  and  also  the  warp  and  filling,  have  been  deter¬ 
mined,  the  sample  should  be  held  in  such  a  manner  that  the 
face  side  will  be  up  and  the  filling  will  pass  from  side  to  side. 

8.  As  the  term  picking-out  implies,  the  operation  of  find¬ 
ing  the  weave  from  a  sample  of  cloth  consists  in  picking  out 
each  pick  of  filling  separately  and  setting  down  on  design 
paper  the  manner  in  which  it  interlaces  with  the  warp. 
Thus,  if  the  filling  passes  under  the  first  warp  end,  the 
square  on  the  design  paper  representing  where  that  end 
intersects  with  the  pick  under  consideration  will  be  filled  in, 
showing  that  the  warp  end  is  raised  over  the  filling  at  that 
point.  If  the  pick  of  filling  passes  over  the  second  warp 
end,  the  square  on  the  design  paper  representing  where  the 
second  end  intersects  with  the  pick  of  filling  will  be  left 
blank,  showing  that  the  warp  is  depressed  and  the  filling  is 
on  the  face  of  the  cloth  at  that  particular  point. 

9.  Preparation  of  Sample. — Before  commencing  to 
pick  out  the  weave,  the  sample  of  cloth  needs  a  certain 
amount  of  preparation  in  order  to  facilitate  the  operation. 


73 


WOOLEN  AND  WORSTED  FABRICS 


7 


Several  ends  from  the  left  side  of  the  sample  and  several 
picks  from  the  top  should  be  pulled  out,  after  which  all  loose 
ends,  except  those  needed  to  determine  the  weave,  should  be 
cut  off.  Generally  it  is  sufficient  to  leave  only  enough  ends 
for  the  repeat  of  the  weave,  but  before  cutting  them  off  be 
sure  that  enough  ends  for  a  repeat  have  been  left.  When 


Fig.  1 

the  preparation  of  the  sample  is  completed  it  will  have  an 
appearance  similar  to  that  shown  in  Fig.  1,  which  is  a 
slightly  enlarged  photographic  reproduction  of  the  sample 
when  ready  to  be  picked  out. 

10.  After  preparation,  the  sample  should  be  held  in  the 
left  hand  and  laid  over  the  first  finger,  as  shown  in  Fig.  2,  so 
that  when  the  intersection  of  each  end  with  the  first,  or  top, 


8 


ANALYSIS  OF 


§73 


pick  has  been  determined,  that  end  may  be  drawn  under  the 
thumb  and  held  out  of  the  way  while  determining'  the  inter¬ 
section  of  the  next  end.  In  this  manner  it  will  be  possible 
easily  to  keep  the  ends  separate  and  determine  the  inter¬ 
lacing  of  each  consecutive  end  with  the  pick. 

For  manipulating  the  ends  and  picks  when  determining 
the  interlacings  of  the  weave  and  when  removing  the  picks 
from  the  cloth,  an  instrument  known  as  a  picking-out ,  or 


Fig.  2 

dissecting ,  needle  is  used.  This  consists  simply  of  a  stout 
needle,  usually  inserted  in  a  wooden  handle  so  that  it  may 
be  conveniently  grasped. 

A  method  that  may  be  used  to  advantage  in  many  cases  is 
to  lay  the  sample  on  a  white  surface  if  it  contains  dark- 
colored  yarns,  and  on  a  black  surface  if  it  contains  light- 
colored  yarns.  By  this  means  the  interlacings  and  individual 
threads  will  stand  out  much  more  prominently,  especially 
when  working  by  artificial  light.  When  this  method  is  used, 


§73 


WOOLEN  AND  WORSTED  FABRICS 


9 


a  pick  glass  will  often  be  of  great  aid  in  determining  the 
interlacings  of  the  warp  and  filling,  especially  if  the  sample 
is  woven  of  fine  yarns  or  if  it  contains  a  large  number  of 
ends  and  picks  per  inch.  A  pick  glass,  or  linen  tester, 
as  it  is  sometimes  called,  is  a  simple  lens,  or  magnifying  glass, 
contained  in  a  suitable  support;  it  is  also  used  to  enable  the 
number  of  ends  or  picks  per  inch  to  be  counted  readily.  A 
pick  glass  with  a  field  of  less  than  1  square  inch  is  undesir¬ 
able  for  purposes  of  analysis. 

In  either  method,  the  top  pick  should  be  drawn  slightly 
from  the  body  of  the  cloth  until  its  interlacings  with  the  ends 
can  be  plainly  seen.  Then  commencing  with  the  end  of  the 
warp  at  the  left  and  taking  each  end  in  succession,  indicate 
on  design  paper  whether  the  end  is  above  or  below  the  pick 
of  filling.  If  the  first  end  is  above  the  pick  of  filling,  it  will 
be  represented  by  a  filled  square  on  the  design  paper;  if  it  is 
below  the  pick,  the  square  will  be  left  blank.  Proceed  in  like 
manner  with  each  end  until  a  repeat  is  found.  It  is  well  to 
carry  the  first  few  picks  out  two  repeats  in  order  to  be  sure 
of  a  repeat  of  the  weave,  after  which  the  extra  ends  may  be 
cut  off  as  shown  in  Fig.  1. 

The  interlacings  of  the  first,  or  top,  pick  should  be  placed 
on  the  top  row  of  squares  on  the  design  paper  and  the  inter¬ 
lacings  of  the  first  end,  or  the  end  at  the  left,  with  the  first 
pick  should  be  placed  on  the  first  square  at  the  left  on  the 
design  paper;  that  is,  the  interlacing  of  the  first,  or  left, 
end  with  the  first,  or  top,  pick  will  be  shown  by  the  square 
in  the  upper  left-hand  corner  of  the  design  paper.  It  should 
be  understood  that  the  top  pick  is  not  the  first  pick  that  is 
put  in  the  loom,  although  it  is  the  first  pick  picked  out.  If 
the  top  pick  of  the  weave  were  the  first  one  put  in  the  loom 
the  weave  would  be  reproduced  in  reverse  order;  that  is,  top 
for  bottom.  This  being  the  case,  it  will  be  seen  that  the  last 
pick  of  the  weave  removed  will  be  the  first  pick  put  in  the 
cloth  in  the  loom;  consequently,  the  lower  left-hand  corner 
of  the  weave,  when  placed  on  design  paper,  is  then  considered 
to  represent  the  intersection  of  the  first  end  and  first  pick. 
This  is  difficult  for  a  beginner  to  comprehend,  but  must  be 


ANALYSIS  OF 


10 


§73 


thoroughly  understood,  since  it  is  an  important  point  when 
building  a  harness  chain  from  the  draft. 

After  its  interlacings  have  been  found  and  placed  on  the 
design  paper,  the  first,  or  top,  pick  should  be  drawn  out  of 
the  cloth  entirely  and  the  next  pick  raised  among  the  loose 
ends,  so  that  its  intersections  may  be  found  in  the  same 
manner  as  those  of  the  first  pick.  The  intersections  of  the 
second  pick  should  be  placed  on  the  horizontal  row  of  squares 
directly  below  the  row  of  squares  on  which  the  intersections 
of  the  first  pick  were  marked.  After  marking  the  inter¬ 
lacings  of  the  second  pick,  proceed  in  a  similar  manner  with 
the  third  and  each  successive  pick  until  a  pick  is  found  that 
interlaces  with  the  warp  in  the  same  manner  as  the  first  pick. 
This  generally  indicates  that  the  weave  repeats  at  this  point, 
but  it  is  a  good  plan  to  pick  out  three  or  four  more  picks  and 
compare  them  with  the  first  ones  taken  out,  in  order  to  be 
sure  that  the  weave  does  repeat  at  this  point.  These 
extra  picks  must  be  ignored  afterwards  and  only  one  repeat 
of  the  weave  used  when  finding  further  particulars.  When 
one  repeat  of  the  weave  is  obtained,  it  represents  what  is 
repeated  as  many  times  as  required  in  the  width  and  length 
of  the  cloth,  and  is  therefore  all  that  is  necessary. 

Some  designers  prefer  to  commence  at  the  bottom  of  a 
piece  of  cloth  to  pick  out.  In  this  case  after  the  inter¬ 
lacings  of  the  first  pick  have  been  marked  on  design  paper 
it  is  removed  from  the  cloth  and  the  next  pick  above  it 
is  examined  and  marked  on  the  design  paper,  but  in  this 
case  it  is  set  down  immediately  above  the  one  that  was 
first  marked.  The  interlacings  of  the  third  pick  taken  from 
the  cloth  are  placed  above  the  second,  and  so  on,  so  that 
whether  the  pick-out  is  commenced  at  the  top  or  the  bottom 
of  the  sample,  the  final  result  as  shown  on  design  paper 
will  be  the  same. 


11.  The  best  plan  of  indicating  the  weave  when  picking 
out  is  to  prick  with  the  picking-out,  or  dissecting,  needle  the 
squares  that  are  required  to  be  marked  and  afterwards  mark 
them  with  ink  or  pencil.  This  method  makes  it  unnecessary 


§73 


WOOLEN  AND  WORSTED  FABRICS 


11 


to  lay  down  the  picking-out  needle  and  take  up  the  pen  or 
pencil  every  time  a  square  needs  to  be  marked. 

If  a  sample  contains  a  large  number  of  ends  and  picks  per 
inch,  or  warp  and  filling  yarns  of  the  same  color,  the  yarns 
are  liable  to  become  crossed  and  the  wrong  end  marked  on 
the  design  paper.  To  prevent  this  it  is  an  advantage,  before 
starting  to  pick  out,  to  place  the  warp  threads  in  a  comb, 
fastening  the  ends  together  between  two  pieces  of  paper 
with  mucilage,  in  order  to  prevent  their  slipping  back.  If 
the  ends  are  crossed  or  in  the  wrong  order  when  placed  in 
the  comb,  this  fact  will  be  noticed  before  the  weave  repeats, 
and  by  making  a  note  of  the  places  where  these  crossed 
ends  should  be,  they  may  be  recopied  in  their  proper  order 
after  the  repeat  of  the  weave  is  found.  This  method  will 
be  found  useful  with  cloth  difficult  to  dissect. 

It  often  happens  that  a  certain  sample,  owing  to  the  large 
number  of  warp  ends  that  it  contains,  is  much  easier  to 
pick  out  if  the  ends  are  removed  from  the  cloth  instead  of 
the  picks,  but  in  this  case  the  squares  must  be  filled  in  for 
those  picks  (considered  as  ends)  that 
are  down  and  left  blank  for  those 
that  are  up.  Unless  this  is  done 
the  reverse  of  the  weave  in  the  sam¬ 
ple  will  be  obtained  on  the  design 
paper. 

A  good  aid  when  picking  out  warp- 
backed  and  double  cloths  is  to  cut 
the  backing  ends  about  i  or  i  inch 
shorter  than  the  face  ends,  after 
having  removed  a  sufficient  num¬ 
ber  of  picks  for  dissecting  purposes.  If  the  fabric  is  hard- 
felted  or  has  a  nap,  singe  the  sample  with  a  match  and 
with  a  knife  scrape  off  the  fiber,  being  careful  not  to  injure 
the  body  of  the  yarn.  In  many  cases  where  weaves  are 
of  regular  order,  as  twills  or  weaves  that  are  very  frequently 
used,  it  will  not  be  necessary  to  pick  out  the  weaves,  since 
they  will  be  readily  recognized  from  the  appearance  of 
the  fabrc. 


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smsassn 

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sssnsmn 

Fig.  3 


12 


ANALYSIS  OF 


§73 


■■■□□■□a 

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asanasan 

soaa@@@n 

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(a) 


12.  In  Fig.  3,  the  pick-out  for  the  cloth  sample  under 
consideration  is  shown.  It  will  be  noticed  that  4  ends  and 
4  picks  are  marked  with  crosses,  while  the  rest  of  the  weave 

is  filled  in  solid.  These  are  extra 
ends  and  picks  that  have  been  picked 
out,  in  order  to  make  sure  that  one 
repeat  of  the  pattern  has  been  ob¬ 
tained.  When  greater  confidence 
has  been  obtained,  it  will  not  be  nec¬ 
essary  to  pick  out  many  extra  ends 
and  picks  in  simple  weaves.  This 
is  desirable,  however,  in  the  more 
complicated  weaves.  The  solid,  or 
filled-in  squares,  represent  one  re¬ 
peat  of  the  weave,  which  it  will  be 
seen  is  a  check  weave  on  12  ends 
and  12  picks. 

Several  correct  but  apparently 
different  results  might  be  obtained 
in  picking  out  a  sample  of  cloth, 
owing  to  the  fact  that  the  pick-outs 
might  not  have  been  started  on  the 
same  end  or  the  same  pick;  in  this 
case  each  end  and  pick  will  be  the 
same  in  each  pick-out,  but  arranged 
in  different  order. 

For  instance,  if  the  cloth  sample 
had  been  so  prepared  that  the  seventh 
end  of  Fig.  3  was  the  first  end  at  the 
left  of  the  sample  and  the  top  pick 
of  Fig.  3  was  still  the  top  pick  of 
the  sample,  the  weave  shown  in 
Fig.  4  (a)  would  have  resulted.  If 
the  sample  had%  been  so  prepared 
that  it  corresponded  in  its  ends  to 
Fig.  3,  but  the  top  pick  was  the  tenth  pick  of  Fig.  3,  the  weave 
obtained  would  be  as  shown  in  Fig.  4  (b).  Again,  if  the 
sample  had  been  so  prepared  that  the  eleventh  end  of  Fig.  3 


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(c) 

Fig.  4 


§73 


WOOLEN  AND  WORSTED  FABRICS 


13 


was  the  first  end  of  the  sample  and  the  fourteenth  pick  the  top 
pick,  the  pick-out  would  have  resulted  as  shown  in  Fig.  4  (c) . 
If  these  three  weaves  are  examined  carefully,  it  will  be  seen 
that  although  the  weaves  are  apparently  different  from  one 
another  and  from  Fig.  3,  they  are  all  in  reality  exactly  alike, 
since  if  repeated  several  times  in  the  cloth,  the  same  effect 
will  be  produced,  the  difference  in  their  appearance  being 
due  only  to  the  end  and  pick  on  which  the  pick-out  is  started. 

After  having  obtained  a  pick-out  of  a  greater  number  of 
ends  and  picks  than  is  actually  necessary  to  show  one 
repeat  of  the  weave,  it  is  always  best  to  so  select  the  ends 
and  picks  for  a  repeat  that  the  weave  will  have  the  appear¬ 
ance  that  it  naturally  would  if  constructed  by  a  designer. 
Thus,  if  one  repeat  of  the  weave,  as  shown  by  the  filled 
squares  in  Fig.  3,  be  compared  with  one  of  the  weave  shown 
by  the  filled  squares  in  Fig.  4  (c) ,  the  lack  of  a  logical  and 
natural  arrangement  of  the  weave  is  very  noticeable  in  the 
latter  as  compared  with  the  former.  The  impression  con¬ 
veyed  by  Fig.  3  is  that  the  weave  is  a  simple  check  weave, 
consisting  of  four  equal  sections  of  6  ends  and  6  picks  each. 
It  is  also  apparent  that  in  the  upper  left-hand  and  lower 
right-hand  sections  the  filling  predominates  on  the  face  of 
the  cloth,  while  in  the  upper  right-hand  and  lower  left-hand 
sections  the  warp  predominates.  No  such  impressions  are 
conveyed  by  the  repeat  of  the  weave  as  shown  in  Fig.  4  (r), 
nor  is  the  arrangement  of  the  weave  as  clear,  even  in 
Fig.  4  (a)  and  {b) ,  as  in  Fig.  3.  It  will  thus  be  seen  that 
there  are  advantages  in  selecting  the  most  suitable  end  and 
pick  as  the  first  end  and  the  first  pick  of  a  weave,  and  espe¬ 
cially  is  this  true  in  weaves  that  are  combinations  of  two  or 
more  simple  weaves. 

There  are  several  points  that  may  be  learned  from  the 
weave  of  the  sample  under  consideration.  In  the  first 
place,  it  will  be  noticed  that  this  weave  is  an  evenly  bal¬ 
anced  check;  that  is,  the  total  area  of  12  ends  and  12  picks 
occupied  by  the  weave  is  divided  into  four  areas  of  6  ends 
and  6  picks  each.  The  check  is  obtained  by  transposition 
and  cuts  perfectly;  that  is,  the  warp  floats  of  one  section 


14 


ANALYSIS  OF 


§73 


oppose  the  filling  floats  of  the  adjacent  sections  and  vice 
versa.  When  the  yarns  used  are  colored  as  in  the  sample 
under  consideration,  this  weave  produces  what  is  sometimes 
known  as  a  star  check. 

It  should  not  be  thought  that  every  sample  of  cloth  is 
made  up  of  a  weave  design,  or  combination  of  weaves,  as 
in  the  case  of  this  sample;  many  cloths  consist  of  simply 
one  weave. 


HARNESS,  OR  DRAWING-IN,  DRAFTS 
13.  The  harness  draft  indicates  the  order  in  which  the 
warp  ends  are  drawn  through  the  harnesses.  When  making 
it,  each  end  that  interlaces  with  the  filling  in  a  different 
manner  from  other  ends  must  be  drawn  in  on  a  separate  har¬ 
ness.  As  a  result,  as  many  harnesses  will  be  required  for  any 
given  weave  as  there  are  ends  having  different  interlacings. 

By  carefully  examining  each  end  in  one  repeat  of  the 
weave  obtained  from  the  cloth  under  consideration,  it  will 
be  seen  that  of  the  12  ends  in  the  weave 
all  have  different  interlacings  with  the  fill¬ 
ing  except  the  fifth  and  sixth  ends,  which 
are  alike,  and  the  seventh  and  eighth, 
which  are  also  alike.  The  fifth  and  sixth 
ends,  therefore,  could  be  drawn  in  on  the 
same  harness,  since  they  work  exactly  the 
same;  this  is  also  true  of  the  seventh  and 
eighth  ends.  But  as  this  would  make 
an  irregular  drawing-in  draft  and  result  in  the  saving  of  only 
2  harnesses,  it  is  best  to  draw  the  warp  through  the  har¬ 
nesses  straight  for  this  fabric.  This  will  make  a  straight 
drawing-in  draft  on  12  harnesses,  as  shown  in  Fig.  5. 

The  horizontal  rows  of  squares  in  Fig.  5  represent  the 
harnesses,  while  the  figures  in  the  draft  show  on  which  har¬ 
ness  each  end  is  drawn  in.  In  making  out  the  drawing-in 
draft,  commence  with  the  first  end  of  the  weave  at  the  left 
and  draw  it  in  on  the  first  harness.  The  second  end  of  the 
weave  must  in  this  case  be  drawn  in  on  a  separate  harness, 
as  it  has  different  interlacings  from  the  first  end,  and  so  is 


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fflDDD 

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Fig.  5 


§73 


WOOLEN  AND  WORSTED  FABRICS 


15 


drawn  on  the  second  harness  as  indicated.  Proceed  in  the 
same  manner  with  each  end  of  the  weave  in  succession, 
always  working  from  left  to  right. 

14.  If  any  end  in  a  weave  has  interfacings  exactly  the 
same  as  the  interlacings  of  any  other  end  in  the  weave,  it 
may  be  drawn  in  on  the  same  harness,  in  which  case  the 
same  number  of  harnesses  as  ends  in  the  weave  will  not  be 
required.  However,  as  explained  previously  and  illustrated 
by  the  weave  under  consideration,  it  is  sometimes  desirable 
to  use  more  harnesses  than  are  absolutely  necessary,  because 
of  the  increased  simplicity  of  the  drawing-in  draft  thereby 
obtained.  The  drawing-in  draft  will  always  occupy  the  same 
number  of  ends  as  one  repeat  of  the  weave,  but  if  more  than 
one  end  is  drawn  on  any  harness  it  is  evident  that  the  same 
number  of  harnesses  as  ends  in  the  weave  will  not  be  used. 

It  should  be  borne  in  mind  that  the  color  of  the  ends  does 
not  make  any  difference  in  the  manner  of  drawing  each  end 
through  the  harnesses,  the  only  distinction  being  the  manner 
in  which  the  end  interlaces  with  the  filling,  except  that  in 
some  cases,  where  there  is  a  fancy  thread  in  a  design,  these 
threads  are  all  drawn  on  one  harness  if  possible.  Many 
weaves  may  be  drafted  down  to  a  very  small  number  of 
harnesses,  but  this  is  not  always  advisable,  as  in  many  cases 
the  draft  will  become  so  complicated  that  the  weaver  will 
have  considerable  trouble  in  drawing  in  a  broken  end  on  the 
correct  harness.  Then,  again,  if  the  whole  warp  is  drawn  in 
a  small  number  of  harnesses,  especially  in  goods  having  a 
large  number  of  ends  per  inch,  the  heddles  on  the  harnesses 
become  so  crowded  that  the  ends  break  much  oftener,  owing 
to  the  chafing  that  results  from  operating  the  harnesses  when 
they  are  crowded.  In  many  cases  other  circumstances  will 
be  found  that  influence  the  number  of  harnesses  on  which 
a  weave  or  combination  of  weaves  is  woven.  A  student 
of  designing  should  constantly  seek  information  on  these 
points,  especially  in  a  weave  room  where  there  is  an 
opportunity  of  examining  samples  of  cloth  from  the  various 
fabrics  and  of  knowing  how  they  are  woven.  He  may  then 


16 


ANALYSIS  OF 


§73 


find,  by  analysis,  the  lowest  number  of  harnesses  on  which 
it  is  possible  to  weave  the  sample,  and  also  the  actual 
number  of  harnesses  on  which  it  is  being  woven  in  the 
weave  room.  If  more  harnesses  are  used  than  the  lowest 
number  possible,  the  reason  should  be  learned.  With  many 
weaves  it  will  not  be  possible  to  tell  at  a  glance  the  number 
of  harnesses  necessary,  as  was  the  case  with  the  weave  in 
the  sample  of  cloth  under  consideration.  Such  weaves 
must  be  carefully  examined  and  the  interlacings  of  each 
end  studied  separately,  in  order  to  determine  which  ends 
have  similar  interlacings. 

15.  When  making  out  the  harness,  or  drawing-in,  draft 
for  any  weave,  the  following  particulars  should  be  noted  in 
each  case:  (1)  It  is  always  desirable  to  make  out  a  harness 
draft  in  such  a  manner  that  it  will  be  as  nearly  a  straight 
draw  as  possible;  this  is  a  great  aid  to  the  weaver  when 
drawing  in  broken  ends,  as  he  can  thus  find  the  proper  har¬ 
ness  more  readily.  (2)  Try  to  have  the  same  number  of 
ends  on  each  harness;  this  is  a  great  aid  to  the  smooth  and 
easy  running  of  the  loom,  as  it  equalizes  the  strain  on 
each  harness.  (3)  If  it  is  necessary  to  place  more  ends  on 
some  harnesses  than  on  others,  try  to  have  these  harnesses  at 
the  front,  as  the  majority  of  broken  ends  will  occur  on  these 
harnesses  and,  if  they  are  at  the  front,  the  ends  are  much 
more  easily  tied  in.  The  front  harnesses  also  are  easier  on 
the  yarn,  since  they  are  not  lifted  as  high  in  shedding  as  the 
other  harnesses. 


CHAIN  DRAFT 

16.  The  chain  draft  is  obtained  from  the  weave  and 
drawing-in  draft,  and  therefore  these  must  first  be  obtained. 
By  referring  to  Fig.  5,  which  shows  the  harness  draft  for  the 
weave  under  consideration,  it  will  be  seen  that  the  first  end 
in  the  weave  is  drawn  in  on  the  first  harness;  therefore,  the 
interlacings  of  the  first  end  must  show  the  working  of  the 
first  harness;  or  in  other  words,  the  interlacings  of  the  first 
end  show  the  manner  of  raising  the  first  harness.  The 


73 


WOOLEN  AND  WORSTED  FABRICS 


17 


second  end  is  drawn  through  the  second  harness;  therefore, 
the  interfacings  of  the  second  end  as  shown  in  the  weave 
illustrate  the  manner  in  which  the  second  harness  is  raised. 
The  same  method  is  continued  throughout,  proceeding  in 
regular  order,  as  this  is  a  straight  draft.  However,  where  a 
weave  is  drafted  to  a  lower  number  of  harnesses  than  there 
are  ends  in  the  weave,  that  is,  where  the  drawing-in  draft 
is  not  straight  and  more  than  one  end 
is  drawn  in  on  any  harness,  that  harness 
will  control  two  or  more  ends  of  the 
weave;  but  in  the  chain  draft  only  one  of 
these  ends  will  be  needed  to  govern  the 
method  of  raising  the  harness.  Conse¬ 
quently,  when  obtaining  the  chain  draft, 
begin  at  the  left  of  the  weave  and  take 
only  those  ends  that  are  drawn  in  on 
different  harnesses,  taking  each  end  only  once.  In  the 
weave  under  consideration,  each  end  is  drawn  in  on  a  differ¬ 
ent  harness;  therefore,  each  end  will  have  to  occur  in  the 
chain  draft  as  shown  in  Fig.  6,  which  in  this  case  is  the 
same  as  the  weave,  or  pick-out,  in  Fig.  3,  in  consequence 
of  the  drawing-in  draft  being  straight.  When  the  harness 
draft  is  not  straight,  the  chain  draft  becomes  a  reduced 
weave — reduced  according  to  the  harness  draft. 


■■■■■■□□ 

■■■■■■□□ 

□□□□□□■■ 

□□□□□□■■ 

■□□□□□■■ 

■■□□□□■a 

□□BB 

anna 

BBCO 

BflBD 

BBBB 

BBBB 

□□□□ 

□□□□ 

□■■■ 

aaaa 

■■■a 

□□□□ 

□□□□ 

□□□a 

□□BB 

□BBD 

BBDO 

Fig.  6 


ADDITIONAL  POINTS  TO  BE  DETERMINED 
BY  ANALYSIS 

17.  In  addition  to  the  requirements  listed  in  Art.  2, 
there  are  a  few  other  items  that  must  in  most  cases  be  deter¬ 
mined  when  analyzing  a  fabric.  Some  of  these  are  unneces¬ 
sary  in  themselves,  but  must  be  ascertained  in  order  that  other 
items  may  be  accurately  found.  They  are  as  follows:  (1) 
determination  of  the  face  and  back  of  the  fabric;  (2)  deter¬ 
mination  of  warp  and  filling;  (3)  determination  of  the 
direction  of  twist  in  warp  and  filling;  (4)  the  shrinkage  of 
the  cloth;  (5)  the  number  of  beams  necessary;  (6)  the  raw 
material. 


18 


ANALYSIS  OF 


§73 


DETERMINATION  OF  FACE  AND  BACK  OF  FABRIC 

18.  The  face  and  back  of  a  fabric  must  always  be  decided 
on  before  finding-  the  pick-out,  in  order  that  the  correct  weave 
may  be  obtained.  In  most  fabrics  this  is  easily  done, 
although  some  cloths  baffle  the  most  experienced  designer. 
The  face  of  a  worsted  fabric  that  has  a  prominent  design  will 
be  found  to  show  a  much  clearer  and  better  pattern  than  the 
back.  The  finish  on  the  face  side  is  also  better  in  practically 
every  case,  the  cloth  being  generally  sheared  or  singed 
closer;  it  will  also  be  more  lustrous,  since  it  receives  more 
brushing  and  attention  in  the  finishing.  Often  the  back  of 
such  a  cloth  will  show  more  or  less  loose  fibers,  while  the 
face  will  be  devoid  of  the  same.  Often  the  effect  of  the 
weave  is  such  that  the  face  of  the  fabric  is  readily  deter¬ 
mined.  When  a  fabric  is  a  backed  or  a  double  cloth,  the  face 
can  often  be  distinguished  by  the  style  of  the  finish.  The 
backing  yarns  in  a  double  cloth  are  also  frequently  coarser 
and  of  poorer  quality  than  the  face  yarns.  In  a  filling- 
backed  fabric,  the  backing  filling  floats  on  the  back  of  the 
cloth  and  is  generally  a  soft-twisted  yarn,  in  order  to  give 
the  cloth  a  warm  feeling.  Warp-backed  fabrics  have  long 
floats  of  the  backing  warp  floating  on  the  back  of  the  cloth, 
and  therefore  the  face  is  readily  determined. 

When  a  fabric  has  a  stripe  design,  the  stripe  usually  shows 
up  more  prominently  and  has  a  more  finished  appearance  on 
the  face  of  the  fabric.  In  milled  and  napped  fabrics,  the 
face  of  the  cloth  is  mostly  smoother  and  more  lustrous  than 
the  back,  and  the  nap  is  generally  brushed  in  one  direction 
and  sheared  to  an  even  length,  thus  making  a'  smooth  and 
velvety  surface  on  the  face  of  the  goods. 


DETERMINATION  OF  WARP 

19.  There  are  several  methods  by  which  the  warp  may 
be  distinguished  from  the  filling:  (1)  If  the  sample  sub¬ 
mitted  for  analysis  contains  a  part  of  the  selvage,  the  warp 
can  be  readily  distinguished  from  the  filling,  since  the  sel¬ 
vage  always  runs  in  the  direction  of  the  warp.  (2)  If  in  any 


§73 


WOOLEN  AND  WORSTED  FABRICS 


19 


fabric  one  series  of  yarn  is  found  to  be  harder-twisted — that 
is,  has  more  turns  of  twist  per  inch — than  the  other  series, 
the  former  will  in  all  probability  be  the  warp,  because  harder- 
twisted  yarns  are  stronger  and  it  is  customary  to  use  them 
where  the  most  strain  occurs,  which  is  always  in  the  warp. 
(3)  If  the  sample  has  been  gigged  and  a  fairly  long  nap 
raised  on  the  cloth,  the  direction  of  the  nap  will  always  indi¬ 
cate  the  direction  of  the  warp,  since  all  cloth,  in  being 
finished,  is  passed  through  the  finishing  machines  in  the  direc¬ 
tion  of  the  length  of  the  piece,  or  the  warp.  (4)  The  counts, 
or  number,  of  the  yarns  will  often  indicate  which  series  of 
yarn  .is  warp  and  which  is  filling,  since  in  many  cases  the 
filling  will  be  of  finer  counts  than  the  warp.  However,  the 
student  should  not  assume  that  this  is  true  in  every  instance. 
(5)  If  in  any  case  one  series  of  yarn  is  found  to  consist  of 
threads  of  different  materials,  such  as  worsted  and  cotton, 
while  the  other  series  of  yarn  is  all  of  one  material,  the 
former  is  generally  the  warp,  although  this  is  not  an  invari¬ 
able  rule.  (6)  If  the  sample  of  cloth  submitted  for  analysis 
contains  reed  marks,  these  marks  will  indicate  the  warp, 
since  they  always  run  warpway  of  the  goods.  They  are 
caused  by  the  reed  wires  becoming  bent  or  getting  out  of 
place,  thereby  crowding  some  ends  together  and  giving 
others  too  much  space.  (7)  Any  fabric  of  a  striped  char¬ 
acter,  such  as  trouserings,  etc.,  will  usually  indicate  the 
warp  at  once,  as  the  stripe  nearly  always  runs  in  the  direc¬ 
tion  of  the  warp.  (8)  If  the  design  is  a  twill,  it  generally 
runs  up  to  the  right,  thus  indicating  the  warp.  This,  how¬ 
ever,  is  not  an  invariable  rule,  as  many  cloths  are  twilled  to 
the  left.  (9)  If  one  series  of  yarn  is  composed  of  ply 
yarn  and  the  other  series  of  single  yarn,  the  ply  yarn  may 
usually  be  considered  the  warp  and  the  single  yarn  the 
filling.  In  woolen  cloths,  however,  ply  yarns  are  frequently 
used  in  the  filling.  (10)  In  union  fabrics  in  which  one 
series  of  yarn  is  all  cotton,  this  series  is  generally  the 
warp  yarn. 


20 


ANALYSIS  OF 


72 


DETERMINATION  OF  TWIST 

20.  By  the  term  twist  both  the  direction  of  the  twist 
and  the  amount  of  twist,  or  number  of  turns  per  inch, 
placed  in  the  yarn  is  meant.  The  direction  of  the  twist  of 
yarn  becomes  an  important  matter  when  reproducing  cloth, 
since  with  some  weaves  a  different  effect  will  sometimes 
be  obtained  by  simply  changing  the  twist  of  the  warp  or 
the  filling.  Yarns  may  be  twisted  in  one  of  two  directions, 
which  are  technically  known  as  right  twist  and  left  twist. 
There  is  considerable  difference  of  opinion  as  to  what  consti¬ 
tutes  a  right-twist  or  a  left-twist  yarn,  as  some  mills  consider 
as  right-twist  what  other  mills  consider  as  left-twist  yarn. 
However,  the  method  of  indicating  the  twist  that  is  most 
commonly  applied  will  be  explained  here. 

By  holding  the  thread  between  the  thumb  and  forefinger  of 
each  hand  the  direction  of  the  twist  may  be  easily  learned. 
If,  when  turning  the  yarn  from  the  body  with  the  right  hand, 
it  is  untwisted,  it  is  right-twist;  if  it  is  twisted  up  harder,  it 
is  left-twist.  Another  method  of  determining  the  twist  of 
the  yarn  is  to  observe  which  way  the  twist  marks  on  the 
surface  of  the  thread  are  inclined  when  the  thread 
is  held  upright.  If  they  slant  up  to  the  left,  the 
yarn  is  left-twist;  if  up  to  the  right,  it  is  right- 
twist.  This  is  the  method  adopted  with  screws 
for  determining  the  twist  of  the  screw  thread. 
Fig.  7  represents  a  yarn  that  would  be  known  as 
a  right-twist  yarn,  while  Fig.  8  illustrates  a  left- 
twist  yarn.  By  closely  examining  the  yarn  in  the 
fig.,  fig. 8  sampie  under  consideration,  it  will  be  seen  that 
all  the  yarn  in  the  warp  is  a  2-ply  yarn  twisted  to  the  left,  or 
left-twist,  while  the  filling  is  a  single  right-twist  yarn.  The 
single  yarns  twisted  for  the  warp  thread  would  be  spun  right- 
twist  and  when  folded  would  be  twisted  to  the  left,  since  the 
ply  yarns  are  always  twisted  in  the  opposite  direction  to  the 
single  yarns  of  which  they  are  composed. 

As  previously  stated,  twist  also  refers  to  the  amount  of 
twist,  or  the  number  of  turns  per  inch,  in  a  given  yarn. 


rl 

/  4 

\ 

1 

N 

§73 


WOOLEN  AND  WORSTED  FABRICS 


21 


In  the  case  of  a  ply  yarn  this  can  usually  be  readily  ascer¬ 
tained  by  putting  the  yarn  under  a  pick  glass;  or  it  can 
be  found  with  more  accuracy  by  untwisting  a  given  length  of 
yarn  and  dividing  the  number  of  turns  of  twist  by  the  number 
of  inches  measured. 

21.  Twist  Counter. — The  amount  of  twist  in  any  yarn 
may  be  determined  by  means  of  an  instrument  made  for  the 
purpose  of  untwisting  the  yarn  and  registering  the  number 
of  revolutions  made  in  taking  out  all  the  twist;  this  instru¬ 
ment  is  known  as  a  twist  counter.  The  simplest  and 
most  commonly  used  form  is  shown  in  Fig.  9.  It  consists 
primarily  of  two  jaws,  one  of  which  b  is  capable  of  adjust¬ 
ment  on  a  bar  a;  the  other  jaw  c  may  be  rotated,  the  exact 


number  of  turns  that  it  makes  being  indicated  on  a  graduated 
dial  d.  The  counter  is  adapted  for  finding  the  number  of 
turns  in  a  sample  of  yarn  from  1  to  10  inches  in  length, 
whether  right-  or  left-twist.  The  yarn  is  held  firmly  by  the 
jaws  at  a  given  distance  apart,  as  indicated  by  the  position 
of  b  on  a;  the  jaw  c  is  then  rotated  until  all  the  twist  is 
taken  out  of  the  yarn,  the  instrument  recording  the  number 
of  turns  on  the  dial  d. 


92—9 


22 


ANALYSIS  OF 


§73 


SHRINKAGE 

22.  The  shrinkage  of  the  cloth  is  an  item  that  can  be 
determined  only  by  the  experience  and  the  judgment  that 
will  come  to  the  student  of  designing  after  becoming  familiar 
with  various  cloths  and  their  peculiarities  in  finishing. 

It  must  be  understood  that  while  it  is  true  that  certain 
goods  shrink  a  given  percentage  within  certain  limits,  yet 
there  is  some  leeway,  and  the  finisher  can  produce  goods  of 
any  width  and  weight  required  within  reasonable  limits. 
The  shrinkage,  of  course,  varies  largely  with  the  raw 
material  as  well  as  with  the  class  of  goods;  some  wools 
will  full  up  much  more  quickly  than  others  and  thus  shrink 
more.  It  must  be  remembered  that  goods  can  be  shrunk 
almost  any  desired  amount,  depending  on  the  nature  of 
the  fabric  that  is  desired. 

23.  The  following  table  shows  the  percentages  usually 
allowed  for  different  classes  of  goods,  thus  giving  an  idea  of 
how  wide  they  should  be  reeded,  in  order  to  finish  easily  to 
the  desired  width: 


Class  of  Goods 

Percentage  of  Shrinkage 

Beavers  . 

25  to  30 

Kerseys . 

25  to  30 

Meltons . 

25  to  30 

Pilots . 

25  to  30 

Doeskins . 

15  to  20 

Cassimeres . 

12  to  15 

Woolen  goods  shrink  more  than  worsted  goods  and  con¬ 
sequently  should  be  reeded  wider  and  warped  longer  for  the 
same  finished  width  and  length.  Goods  that  are  fulled 
also  shrink  more  than  goods  that  are  not  fulled.  Heavy 
woolen  goods  with  heavy  fulling,  such  as  triple-milled 
goods,  will  sometimes  shrink  as  much  as  30  per  cent,  and 
will  average  from  25  to  30  per  cent.  For  light-weight,  fulled 


§73 


WOOLEN  AND  WORSTED  FABRICS 


23 


woolens  a  shrinkage  of  from  12?  to  18  per  cent,  in  the  width 
should  be  allowed,  while  if  not  fulled  a  smaller  allowance, 
say  from  10  to  15  per  cent.,  is  sufficient.  As  a  general  rule 
goods  do  not  shrink  so  much  in  length  as  in  width,  especially 
those  that  are  not  fulled,  the  action  in  passing  through  the 
finishing  machinery  being  to  keep  the  goods  stretched  in 
length. 

For  light-weight  worsted  goods  with  a  clear  finish  from 
8  to  12?  per  cent,  shrinkage  in  width  is  sufficient  to  allow, 
while  if  fulled  (which  is  rarely  done)  from  12?  to  15  per 
cent,  should  be  allowed.  For  heavy-weight  worsted  goods 
with  a  clear  finish  from  12?  to  15  per  cent,  shrinkage  in 
width  should  be  allowed,  while  if  the  cloth  is  fulled  an  allow¬ 
ance  of  15  to  20  per  cent,  should  be  made. 

Goods  made  with  cotton  warps  do  not  shrink  in  length, 
and  those  with  cotton  filling  do  not  shrink  in  width,  to  so 
great  an  extent.  Goods  with  a  mixture  of  cotton  and  wool, 
either  in  warp  or  filling  or  both,  shrink  proportionately  less 
than  goods  made  from  pure  wool.  When  it  is  desired  to 
estimate  the  shrinkage  of  a  fabric  from  a  small  sample,  a 
thread  of  a  given  length,  say  2  inches,  may  be  pulled  out, 
moistened  a  little,  and  then  stretched  (but  not  too  hard)  and 
measured  again.  The  amount  that  the  thread  stretches  will 
give  some  indication  of  the  amount  that  the  fabric  has  shrunk. 
This  may  be  done  with  both  warp  and  filling. 


NUMBER  OF  BEAMS  REQUIRED 

24.  Although  the  majority  of  cloths  are  woven  from  one 
beam,  yet  in  many  cases,  when  desiring  to  reproduce  a  fabric, 
it  will  be  found  necessary  to  use  more  than  one  beam  for  the 
warp  yarn,  in  order  to  allow  for  the  difference  in  the  take-up 
of  a  portion  of  the  warp  yarn.  When  dissecting  any  cloth, 
in  order  to  decide  this,  the  weave  should  be  carefully  con¬ 
sidered.  If  the  cloth  is  made  from  one  regular  weave  and 
the  warp  yarn  is  all  the  same,  it  will  be  necessary  to  use 
only  one  beam;  but  in  cases  where  two  or  more  weaves  are 
combined  in  a  fabric,  it  will  be  necessary  to  study  the 


24  ANALYSIS  OF  §73 

weaves  carefully  and  ascertain  whether  one  will  take  up 
more  than  the  other. 

When  desiring  to  find  the  number  of  beams  necessary  to 
weave  any  sample  of  cloth,  the  most  essential  point  to  notice 
is  the  interlacings  of  each  weave.  For  instance,  the  ends  of 
one  weave  may  interlace  with  the  filling  six  times  in  a 
certain  number  of  picks,  while  the  ends  of  another  weave  in 
the  same  design  may  interlace  twelve  times  in  the  same 
number  of  picks.  When  such  is  the  case,  the  ends  that 
interlace  the  larger  number  of  times  will,  of  course,  take  up 
faster,  owing  to  the  fact  that  they  bend  around  the  filling 
more  times.  If  a  warp  for  a  cloth  like  this  is  placed  on  one 
beam,  those  ends  that  take  up  more  rapidly  will  grow  tighter 
in  the  fabric,  thus  giving  it  a  cockled  appearance.  In  such 
instances  it  will  be  found  best  to  separate  the  ends  that  do 
not  take  up  alike  and  place  them  on  two  beams.  It  is 
unnecessary  to  use  two  beams,  unless  there  is  a  marked 
difference  in  the  take-up,  since  small  differences  will  be 
overcome  by  the  elasticity  of  the  yarn. 

In  some  cases  a  cloth  may  be  regular,  therefore  apparently 
requiring  only  one  beam,  with  the  exception  that  at  certain 
intervals  there  will  be  a  fancy  thread  that  will  have  different 
interlacings  from  the  body  of  the  cloth,  in  order  that  it  may 
produce  some  desired  effect.  In  this  case  the  fancy  threads 
are  placed  on  a  separate  beam  or,  if  there  are  only  a  few, 
they  are  wound  on  a  jack-spool,  which  may  be  adjusted  at 
the  back  of  the  loom. 

Double  cloths  and  cloths  backed  with  warp  often  require 
two  beams,  one  for  the  face  warp  and  one  for  the  back  warp, 
since  the  back  weave  is  generally  different  and  also  because 
coarser  yarns  are  used  for  the  back  of  the  fabric.  If  the 
same  yarn  and  weave  are  used  for  the  back  as  for  the  face  of 
a  double  cloth,  both  warps  can  be  put  on  one  beam. 


DETERMINATION  OF  RAW  MATERIAL 

25.  In  many  fabrics  there  will  be  a  mixture  of  different 
materials;  for  instance,  woolen  and  cotton  yarns,  worsted 
and  cotton,  woolen  and  silk,  worsted  and  silk,  and  other 


§73 


WOOLEN  AND  WORSTED  FABRICS 


25 


combinations  are  often  found  in  the  same  fabric.  In  such 
cases  it  will  be  found  necessary  to  determine  which  ends 
are  of  one  material  and  which  ends  are  of  another.  A 
knowledge  of  the  different  fibers  is  of  great  aid  in  determin¬ 
ing  of  what  material  various  yarns  are  made,  but  often  a 
single  yarn  may  be  composed  of  several  materials,  the 
mixture  having  been  made  in  the  raw  stock.  In  this  case 
chemical  or  microscopical  tests  must  be  used,  in  order  to 
determine  the  different  materials  and  the  percentage  of  each. 

The  quickest,  and  an  invariable,  method  of  ascertaining 
whether  a  sample  is  composed  of  animal  or  vegetable  fibers 
is  to  burn  a  sample  of'  the  yarn.  Vegetable  fibers  are  com¬ 
posed  of  carbon,  hydrogen,  and  oxygen,  and  when  burned 
will  make  a  flame  and  leave  a  white  ash,  but  will  emit  no 
odor.  Animal  fibers  are  composed  of  the  same  elements 
as  vegetable  fibers,  but  also  contain  nitrogen  and,  in  the 
case  of  wool,  sulphur  to  a  small  extent;  when  burned,  they 
will  not  flame  but  smolder,  coiling  up  and  forming  a  small, 
crisp  globule.  They  are  also  distinguished  from  the  vege¬ 
table  fibers  by  the  peculiar  odor,  similar  to  that  of  burned 
horn  or  feathers,  that  they  emit  while  burning. 

26.  Distinguishing  Woolen  From  Worsted  Yarn. 
To  distinguish  a  woolen  yarn  from  a  worsted  yarn,  untwist 
the  yarn  and  observe  the  disposition  of  the  fibers  in  the 
structure  of  the  thread.  A  worsted  yarn  is  a  thread  com¬ 
posed  of  wool,  the  fibers  of  which  lie  smoothly  in  the  direc¬ 
tion  of  the  thread  and  are  parallel  to  each  other.  The 
surface  of  a  worsted  thread  is  comparatively  smooth  and 
the  thread  generally  has  a  well-defined  luster.  A  woolen 
yarn  is  also  a  thread  spun  from  wool,  but  the  individual 
fibers  are  mixed  and  crossed  in  every  conceivable  direction 
and  the  surface  of  the  thread  presents  a  uniformly  rough 
appearance,  which,  however,  is  lacking  in  luster. 

As  a  further  test  in  distinguishing  between  woolen  and 
worsted  yarns,  the  length  of  the  fibers  that  compose  the 
thread  may  be  observed.  Fibers  from  a  woolen  yarn  are 
usually  quite  short,  while  those  from  a  worsted  yarn  are 


26 


ANALYSIS  OF 


§73 


longer.  This  test  alone,  gives  not  sufficient  data  on  which 
to  base  an  authoritative  statement,  because  some  woolen 
yarns  are  composed  of  rather  long  fibers,  while  certain 
worsted  yarns  are  made  of  comparatively  short  fibers;  it 
serves,  however,  as  a  further  indication  to  supplement  the 
deductions  of  other  tests.  The  woolen  fiber  is  also  crinkled 
and  curled,  while  the  fiber  in  a  worsted  thread  has  a  straight 
appearance. 

27.  Distinguishing  Silk  From  Other  Yarns  — Silk 

can  generally  be  distinguished  from  either  cotton,  woolen, 
or  worsted  by  its  incomparable  luster,  and  also  by  the  fact 
that  it  is  generally  finer.  However,  mercerized  cotton, 
which  also  has  a  remarkable  luster,  should  not  be  con¬ 
founded  with  silk.  These  two  yarns  may  be  distinguished 
by  burning,  as  the  silk,  being  an  animal  fiber,  will  burn 
similarly  to  wool. 

28.  Distinguishing  Dinen  From  Cotton.  —  Linen 
may  be  distinguished  from  cotton  from  the  fact  that  the 
thread  is  rougher  and  contains  uneven  bunches.  Linen  may 
also  be  distinguished  from  cotton  from  the  fact  that  it  has  a 
harsher  feeling. 

29.  Ascertaining  the  Percentage  of  Each  Material 
in  Union  Fabrics.— Tests  have  been  given  by  means  of 
which  it  should  be  possible  to  distinguish  the  fibers  that  are 
ordinarily  met  with  in  textile  fabrics,  but  nothing  has  been 
said  about  the  quantity.  Where  different  materials  are 
placed  in  a  fabric  in  solid  threads  of  each  material  it  is  a 
simple  matter  to  determine  the  amount  of  each  material,  but 
when  the  different  materials  are  mixed  in  the  raw  stock  it  is 
more  difficult  to  find  the  exact  percentage  of  each.  For 
instance,  many  woolen  yarns,  especially  warp  yarns  in  low- 
grade  goods,  contain  cotton,  which  not  only  cheapens  the 
fabric,  but  makes  the  yarn  stronger.  To  determine  the 
percentage  of  cotton,  or  other  vegetable  fibers,  in  a  mixed 
yarn  composed  of  animal  and  vegetable  fibers,  the  following 
method  may  be  employed:  If  accurate  results  must  be 
obtained,  the  yarn  or  cloth  sample  in  which  the  percentage 


§73 


WOOLEN  AND  WORSTED  FABRICS 


27 


of  wool  and  cotton,  or  other  animal  and  vegetable  fiber,  is  to 
be  determined  should  first  be  stripped  of  dye  stuff  by  being 
boiled  in  dilute  hydrochloric  acid.  The  yarn  or  cloth  is  then 
immersed  for  20  minutes  in  ammoniacal  copper  oxide  or  con¬ 
centrated  sulphuric  acid,  which  destroys  the  vegetable  matter. 
The  fibers  that  are  left  when  dried  and  weighed  will  give  the 
percentage  of  wool,  or  other  animal  fiber,  as  compared  with 
the  weight  of  the  original  sample. 

30.  A  method  that  is  used  perhaps  more  frequently  than 
the  above  is  to  boil  the  weighed  sample  in  an  8°  B.  solution  of 
caustic  potash  for  2  hours,  after  which  it  is  washed  and 
dried.  During  the  boiling,  a  few  drops  of  water  are  added 
from  time  to  time  to  prevent  the  alkali  from  becoming  too 
concentrated.  After  the  sample  is  dried,  its  weight  will  be 
that  of  the  cotton  in  the  sample  and  the  loss  in  weight  will 
be  that  of  the  wool.  Instead  of  potash,  a  7°  B.  solution  of 
caustic  soda  may  be  used,  the  boiling  being  carried  on  for 
not  over  15  minutes. 

Note. — B.  means  Baurae  and  refers  to  the  graduated  scale  on 
Baume’s  hydrometer  used  for  determining  the  density  of  a  solution. 

31.  To  separate  silk,  cotton,  and  wool:  Take  two  sam¬ 
ples  each  of  the  same  weight;  boil  them  from  15  to  30 
minutes  in  a  3°  B.  solution  of  hydrochloric  acid  to  remove 
the  sizing,  etc.;  then  wash  them.  Immerse  one  sample  in  a 
boiling  solution  of  basic  zinc  chloride  for  a  short  time;  then 
wash  thoroughly  first  in  acidified  and  then  in  clean  water, 
and  dry  it.  The  loss  in  weight  gives  the  amount  of  silk. 
Boil  the  second  sample  for  15  minutes  in  a  7°  B.  solution  of 
caustic  soda  and  then  wash  and  dry  it.  The  residue  is  cotton, 
to  the  air-dry  weight  of  which  must  be  added  about  5  per 
cent,  to  compensate  for  the  loss  of  the  fiber  during  the 
operation.  The  difference  between  this  and  the  original 
weight  represents  the  weight  of  wool. 


TWILL  WEAVES  AND 
DERIVATIVES 


TWILL  WEAVES 


GENERAL  CONSIDERATION 

1.  Introductory. — Certain  weaves,  because  of  the  simi¬ 
larity  of  their  construction  and  of  the  effects  that  they 
produce  in  the  fabric,  are  grouped  in  classes.  They  partake 
of  the  nature  of  fundamental,  or  standard,  weaves,  not  only 
on  account  of  the  simplicity  of  their  construction,  but  also 
because  of  their  wide  and  varied  use  in  almost  every  class 
of  textile  fabrics.  For  instance,  the  plain  weave  may  be 
considered  as  a  standard  construction,  since  it  is  widely 
used  in  weaving  fabrics  composed  of  any  material.  One  of 
the  largest  of  these  classes  is  that  of  twill  weaves,  which 
are  so  called  because  of  the  peculiar  effect  they  form  on  the 
surface  of  the  fabric.  Many  of  the  simpler  twills  have,  like 
the  plain  weave,  acquired  distinctive  names  by  which  they 
are  readily  recognized  by  experienced  designers. 

2.  Construction  of  Twills. — In  the  plain  weave,  each 
end  is  alternately  raised  and  lowered,  but  in  a  twill  the  warp 
ends  are  so  raised  that  the  warp  and  filling  floats  form 
diagonal  lines  across  the  cloth,  known  as  twill  lines.  In 
a  twill  each  warp  end  must  be  either  over  or  under  the 
filling  for  at  least  2  picks  in  succession  and  at  least  2  suc¬ 
cessive  warp  ends  must  be  raised  or  lowered  on  each  pick, 
in  order  to  make  the  twill  line  across  the  cloth.  On  this 


For  notice  of  copyright,  see  page  immediately  following  the  title  page 

£  75 


2 


TWILL  WEAVES  AND  DERIVATIVES  §75 


!□! 


ID 


□I 


Fig.  1 


account  at  least  3  harnesses  are  necessary  to  weave  a  twill, 
or  in  other  words  three  is  the  smallest  number  of  harnesses 
on  which  a  twill  effect  can  be  formed  in  the  cloth.  Thus, 
the  3-harness ,  or  prunelle ,  twill ,  as  it  is  called,  is  the  simplest 
twill  that  can  be  made. 

As  shown  in  Fig.  1,  the  first  end  of  this  weave  is  down  on 
the  first  pick,  but  floats  over  the  second  and  third  picks;  the 
second  end  is  down  on  the  second  pick  but  floats  over 
the  third  and  first  picks;  the  third  end  is  down  on  the 
third  pick  but  floats  over  the  first  and  second  picks. 
Each  end  in  this  weave  therefore  floats  over  2  picks  in 
succession.  This  constitutes  one  repeat  of  the  weave;  that  is, 
if  the  fourth  end  were  shown,  it  would  be  found  to  be  similar 
to  the  first  end,  while  the  fifth  end  would  be  like  the  sec¬ 
ond,  and  the  sixth  like  the  third.  It  will  also  be  noted 
in  Fig.  1  that  on  the  first  pick  the  second  and  third 
warp  ends  are  raised,  on  the  second  pick  the  first  and 
third  warp  ends  are  raised,  and  on  the  third  pick  the  first  and 
second  warp  ends  are  raised.  Thus  it  will  be  seen  that  in  this 
weave  all  the  requirements  of  a  twill  weave  are  met. 

With  this  weave  a  twill,  or  diagonal,  line  is  formed 
running  up  to  the  right.  Weaves  may  be  twilled 
either  to  the  right  or  to  the  left,  although  in  the 
majority  of  cases  they  are  so  constructed  as  to  form  twill 
lines  running  up  to  the  right,  as  in  the  case  of  Fig.  1.  Fig.  2 
shows  a  warp-flush  prunelle  twill  running  to  the  left. 


Fig.  2 


Fig.  3 


3.  A  weave  may  be  warp  flash ,  filling  flush ,  or  equally 
flush ,  depending  on  whether  a  preponderance  of  warp  or 
filling  or  an  equal  amount  of  each  is  brought  to  the  face  of 
the  cloth;  thus,  Fig.  1  is  a  warp-flush  prunelle  twill,  iBDD 
while  Fig.  3  shows  a  filling-flush  prunelle  twilled  to  the  Egg 
right  and  Fig.  4  shows  a  filling-flush  prunelle  twilled  Fig  4 
to  the  left.  A  cloth  woven  with  a  warp-flush  weave 
shows  a  filling-flush  weave  on  the  back,  and  if  woven  with 
a  filling-flush  weave  shows  a  warp-flush  weave  on  the  back. 
Thus  it  will  be  seen  that  these  terms  simply  refer  to  the 
effect  on  the  face  of  the  cloth. 


§75  TWILL  WEAVES  AND  DERIVATIVES 


3 


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1 1 

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1 1 

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■ 

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(a) 


W 

Fig.  5 


(c) 


4.  Repeat  of  the  Weave. — One  of  the  most  important 
things  in  designing  and  probably  one  of  the  most  difficult 
for  the  beginner  to  understand  is  the  repeat  of  the  weave; 
especially  is  this  of  importance  in  dealing  with  twills.  It 
will  be  found  a  great  aid,  when  only  one  repeat  of  a  weave  is 
given,  to  practice  extending  the  weave  on  design  paper  for 
several  repeats.  By  this  means  one  repeat  of  any  weave 
will  more  readily  be  found  when  it  becomes  necessary  to 
distinguish  a  single 
repeat  from  several  re¬ 
peats.  Weaves  may 
be  repeated  on  design 
paper  either  in  their 
ends  or  in  their  picks, 
or  they  may  be  repeated 
in  both  the  ends  and 

the  picks.  Suppose,  for  example,  that  it  is  desired  to  extend 
Fig.  1  for  three  repeats  in  its  ends.  As  already  stated,  this 
weave  is  complete  on  3  ends;  consequently,  three  repeats 
will  occupy  three  times  this  number,  or  9  ends.  If  it  is 
desired  to  repeat  the  weave  in  its  picks  three  times,  it  will 
occupy  9  picks;  while  if  it  is  repeated  three  times  in  both 
ends  and  picks,  it  will  occupy  9  ends  and  9  picks. 

When  repeating  a  weave  it  is  simply  necessary  to  copy  the 
weave  exactly  as  it  is;  that  is.  if  Fig.  1  were  to  be  repeated 
in  its  ends,  one  repeat  of  the  weave  would  first  be  set  down 
and  the  other  repeats  copied.  The  fourth  end  would  be  the 
same  as  the  first;  the  fifth  end,  the  same  as  the  second;  and 
the  sixth  end,  the  same  as  the  third.  This  would  make  two 
repeats..  If  another  repeat  is  required,  the  ends  will  simply 
be  copied  again  in  their  proper  order.  If  the  weave  is 
to  be  repeated  in  its  picks,  the  picks  will  be  copied  in  the 
same  manner  as  were  the  ends  when  repeating  in  its  ends. 
Fig.  5  ( a )  shows  the  weave  Fig.  1  repeated  three  times  in  its 
ends;  Fig.  5  ( b )  shows  the  weave  repeated  three  times  in 
its  picks;  and  Fig.  5  ( c )  shows  the  weave  repeated  three 
times  in  both  ends  and  picks. 


4 


TWILL  WEAVES  AND  DERIVATIVES  §75 


REGULAR  TWILLS 

5.  Regular  twills  are  those  that  run  in  regular  order; 
it  is,  therefore,  simply  necessary  to  know  the  interlacing  of 
any  one  end  or  pick,  say  the  first,  of  a  regular  twill  in  order 
to  show  the  entire  weave  on  design  paper. 

The  interlacings  of  the  first  end  or  pick  of  any  regular  twill 
are  conveniently  shown  by  writing  numbers  above  and  below 
a  horizontal  line;  thus,  for  example,  shows  that  the  first 
end  is  up  2  picks,  down  3,  up  1,  and  down  2.  The  interlacing 
of  a  regular  twill  weave  shown  in  this  manner  is  called  the 
base  of  the  twill.  Since  in  regular  twill  weaves  the  ends 
interlace  with  the  picks  in  exactly  the  same  manner  as  the 
picks  interlace  with  the  ends,  the  base  also  shows  the  inter¬ 
lacing  of  the  first  pick,  as  it  indicates  that  on  the  first  pick 
the  first  2  ends  are  up,  the  next  3  are  down,  the  next  1  is 
up,  and  the  next  2  are  down.  The  sum  of  these  numbers, 
eight,  shows  that  the  twill  repeats  on  8  ends  and  8  picks. 

Suppose  that  it  is  desired  to  show  the  2  3 1 2  twill  on  design 
paper.  The  first  step  is  to  mark  the  first  end  or  first  pick 
in  the  manner  indicated  by  the  base;  the  twill  will  be  the 
same  whichever  is  marked.  If  the  first  end  is 
marked,  it  should  be  marked  from  top  to  bot¬ 
tom;  if  the  first  pick,  it  should  be  marked  from 
left  to  right.  One  method,  however,  should  be 
adopted;  consequently,  the  system  of  marking 
the  first  pick  will  be  used  here.  Marking  this 
pick  shows  that  the  first  2  ends  are  up,  the  next 
3  ends  down,  the  next  end  up,  and  the  next  2  ends  down, 
as  shown  in  Fig.  6.  The  next  step  is  to  run  up  the  twill 
in  regular  order;  that  is,  if  an  end  is  up  on  one  pick,  on  the 
next  pick  the  next  end  in  the  direction  in  which  the  twill  is 
to  run  is  up. 

That  this  method  of  making  a  twill  may  be  more  readily 
understood,  each  end  will  be  run  up  separately  and  after¬ 
wards  the  complete  design  will  be  shown.  Commencing 
with  the  first  end  and  the  first  pick,  which  is  at  the  lower 
left-hand  corner,  this  first  end  is  raised  on  the  first  pick;  then 


□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 


Fig.  6 


§75  TWILL  WEAVES  AND  DERIVATIVES 


5 


on  the  next  pick  the  next  end  to  the  right,  if  the  twill  is  run 
to  the  right,  will  be  raised;  that  is,  the  second  end  will  be 
raised  on  the  second  pick,  and  the  third  end  will  be  raised  on 
the  third  pick.  This  is  continued  for  the  8  ends  and  8  picks 
with  the  result  shown  in  Fig.  7. 

Next  taking  the  second  end  and  dealing  with  it  in  exactly 
the  same  manner  will  give  the  result  shown  in  Fig.  8.  It 
should  be  noted  in  connection  with  this  figure  that  when  run¬ 
ning  these  marks  up  on  the  design 
paper  the  eighth  end  is  raised  on 
the  seventh  pick.  If  this  were 
continued  in  a  regular  line  for  the 
8  picks,  the  next  mark  would  come 
on  the  ninth  end,  but  the  weave  is 
complete  on  8  ends;  consequently, 
the  mark  for  the  ninth  end  is  placed  on  the  first  end,  since 
the  ninth  end  will  be  the  first  end  of  the  next  repeat,  which 
of  course  is  exactly  like  the  first  end  of  the  repeat  under 
consideration.  That  this  is  correct  will  be  seen  if  two 
repeats  of  the  weave  are  made. 

In  Fig.  6,  the  third,  fourth,  and  fifth  ends  are  lowered  on 
the  first  pick;  these  blank  squares  will  consequently  run  up 
in  the  same  manner  as  the  filled-in  squares,  but  it  is  not  neces¬ 
sary  to  consider  them  since,  if  the 
filled-in  squares  are  run  up  cor¬ 
rectly,  the  blank  ones  must  be 
correct.  Since  the  sixth  end  is 
raised  on  the  first  pick,  the  seventh 
end  will  be  raised  on  the  second 
pick  and  so  on,  as  shown  in  Fig.  9. 
It  should  be  noted  that  the  eighth  end  is  raised  on  the  third 
pick  and  that  in  order  to  continue  for  the  8  picks,  the  first 
end  must  be  raised  on  the  next  pick  and  the  marks  run  from 
this  point  to  complete  the  8  picks,  as  shown.  As  the  seventh 
and  eighth  ends  are  down  on  the  first  pick  it  is  not  necessary 
to  consider  these.  If  Figs.  7,  8,  and  9  are  combined,  the  com¬ 
plete  twill  will  be  obtained,  as  shown  in  Fig.  10.  When  con¬ 
structing  a  twill,  it  is  not  necessary  to  run  up  each  twill  line 


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□□□□□■□□ 


Fig.  9 


□□■■□□□■ 


Fig. 10 


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□□□□□□■□ 

□□□□□■□□ 

□□■□□□□□ 

□■□□□□□□ 

■□□□□ODD 


Fig.  7 


■□□□□□□□ 

□□□□□□□■ 

□□□□□□■□ 

□□□□□■□□ 

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□□■□□□□□ 

□■□□□□□□ 


Fig.  8 


6 


TWILL  WEAVES  AND  DERIVATIVES  §  75 


separately  as  in  Figs.  7,  8,  and  9  and  then  combine  them 
as  in  Fig.  10  since  it  is  perfectly  feasible  to  construct  the 

entire  twill  as  shown 
in  Fig.  10  at  one  oper¬ 
ation.  The  method  of 
running  up  each  twill  line 
separately  is  adopted 
only  to  explain  the  con¬ 
struction  of  the  com¬ 
plete  twill. 

6.  A  rule  for  making 
45°  any  regular  twill  when 
the  interlacings  of  the 
first  pick  are  given  is 
as  follows: 

Rule.  —  Mark  on  the 
first  pick  of  the  weave  the 
ends  that  are  to  be  lifted 

nnO 

on  that  pick;  then  above 
on  the  second  pick  place 
similar  marks ,  moving 
18o  them  one  square  to  the 
right  if  the  twill  is  to 
run  to  the  right ,  or  one 
14°  square  to  the  left  if  the 
twill  is  to  run  to  the  left. 
Proceed  with  each  pick 
in  the  same  way ,  moving 
one  to  the  right  or  left , 
as  the  case  may  be,  until  there  are  as  many  picks  as  ends,  when 
the  weave  will  be  completed. 

7.  Angles  of  Twills. — The  angle  of  a  twill  is  affected. 
( 1 )  by  the  manner  in  which  the  ends  and  picks  interlace;  ( 2 )  by 
the  relative  number  of  ends  and  picks  per  inch. 

Fig.  11  illustrates  the  method  of  running  up  twill  lines  on 
design  paper  so  as  to  form  different  angles. 


76°  72°  63° 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□■■■a 

□□□□□□□□ 

□□□□□□□□ 

aDDDDDDD 

□BBBDDDD 

□□□□BBBD 

□□□□□□□□ 

□□□□□□□□ 

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BaDDDDDD 

□BBDDDDD 

□□□□□□□□ 

□□□□□□□□ 

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BmanDoa 

□BBaanoo 

□□□BBaan 

□□□□□□□□ 

BBBBDDDD 

□□□□BBBB 

□□□□□□□□ 

□□□□□□□□ 

BBBDDLOD 

□□□BBBDD 

□□□□□□BB 

□□□□□□□□ 

BDDDDDDD 

□BBDDDDD 

□□□BBDDD 

□□□□□BBD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

BOCDBnnn 

BDCOBnnD 

BnanBDDn 

BDDBnnDD 

□□□«□□□□ 

□□□BDDDB 

□□BDODDB 

□□BDDDBD 

□□BDnnDD 

□BDDDDDD 

□BCODDDD 

BnnnDDDD 

BDDDDnna 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□B 

□□□□□□BO 

□□□□□BDD 

□□□□BDDD 

□□□BDDDD 

□□BDonna 

□Bonaann 

BDnnnnan 

□□BDCDBD 

□BDDDBDD 

□BDCOBOD 

□BaDBDDD 

BDDDBDnD 

BDDBCOCD 

BDDBDDDD 

□!!■□□□□□ 

□□□□□□BD 

□□□□□BDD 

□□□□BDDD 

□□BDDDDn 

□BDnDDDD 

BDODDDDD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□BB 

□□□□BBDQ 

□□BDDDDB 

□BCODDBD 

□BDDDBnn 

BDDDBmn 

BOnBDDDD 

□□»□□□□□ 

□BDCDDBB 

BunuBBon 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□BB 

□□□□BBDD 

□□Banana 

BBnnnnnn 

□□□□□□□□ 

□□□□□□□B 

□□BBDDDD 

BBaonana 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□BBB 

□□BBBnoa 

BBonnaDQ 

BDDBCOBD 

B3DBDDBD 

BODBLODB 

BDDDBDDB 

□BaDBnna 

□BaDBDDD 

□Baanann 

□BannaaD 

□□□□BBBD 

□BBBnnno 

BnDannnn 

□□□□□□□□ 

□□□□BBBB 

BBBBnnna 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□BBBB 

BBBBncnn 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

Fig. 11 


§75  TWILL  WEAVES  AND  DERIVATIVES 


7 


In  the  first  twill  line  at  the  bottom,  the  twill  moves  four 
squares  filling  way,  or  across  the  design,  and  then  one  square 
up;  by  this  means  an  angle  of  14°  is  formed.  In  the  next 
case  the  twill  moves  three  squares  filling  way  and  then  one 
square  warp  way,  forming  an  angle  of  18°.  In  the  next  case 
the  twill  moves  two  squares  filling  way  and  then  one  warp  way, 
which  gives  an  angle  of  27°.  By  care¬ 
fully  noting  each  twill  line,  the  method  of 
forming  different  angles  will  be  readily 
understood.  Twills  are  spoken  of  as 
being  such  a  degree  twill,  the  45°  twill 
being  the  most  common,  as  it  is  the 
angle  formed  by  all  regular  twills. 

A  twill  that  forms  a  certain  angle  on 
regular  8x8  design  paper  will  not  form 
that  same  angle  in  the  cloth  unless  the 
number  of  ends  and  picks  per  inch  and  the  counts  of  the  warp 
and  filling  yarns  are  the  same.  For  example,  the  45°  twill 
shown  in  Fig.  12  is  shown  on  8  X  8  design  paper;  that  is, 
the  design  paper  has  eight  vertical  rows  of  squares  and 
eight  horizontal  rows  in  the  same  distance,  warp  or  filling 
way.  Since  a  row  of  squares  across  the  paper  represents 
a  pick  and  a  row  of  squares  vertically 
represents  a  warp  end,  a  twill  or  any 
design  on  this  kind  of  design  paper 
shows  the  weave  as  it  would  appear  in 
the  cloth  if  the  same  number  of  picks 
per  inch  as  ends  per  inch  is  inserted. 
Suppose  that  twice  as  many  picks  are 
placed  in  1  inch  of  the  cloth  as  there 
are  ends  per  inch;  then  in  order  to  give 
a  correct  representation  of  this  on  design 
paper,  a  paper  should  be  used  that  contains  twice  as  many 
horizontal  rows  of  squares  in  a  given  space  as  it  has  vertical 
rows  of  squares.  Fig.  13  shows  the  twill  in  Fig.  12  on 
design  paper  of  this  kind;  it  will  be  noticed  that  an  angle  of 
27°  is  formed.  On  the  other  hand,  if  there  are  twice  as 
many  ends  per  inch  in  the  cloth  as  there  are  picks,  an  angle 


TWILL  WEAVES  AND  DERIVATIVES  §75 


of  63°  will  be  formed  with  this  same  twill;  Fig.  14  illustrates 
this  point.  It  will  be  noticed  that  in  both  Figs.  13  and  14  two 
repeats  of  the  weave  are  shown.  Ordinarily,  however,  8x8 
design  paper  is  used  in  constructing  designs  even  if  the 
fabric  is  to  be  woven  with  more  picks  than  ends  per  inch  or 
vice  versa.  It  is  only  in  jacquard  designing  and  for  some 


Fig.  14 


■□□□■ 

□□□■■ 

□□■■■ 

□■■■■ 

■■■■■ 

■■■□□□■a 

■■■■■□□□ 

□■■■■■□□ 

□□■■■■■□ 

■■■■□ 

■■■□□ 

■■□□□ 

■□□□■ 

□□□■■ 

■■□□□ 

Fig.  15 


special  fabrics  where  it  is  desired  to  preserve  the  symmetry 
of  a  figure,  or  pattern,  that  a  design  paper  is  used  corre¬ 
sponding  to  the  relative  number  of  ends  and  picks  per 
inch  in  the  fabric. 

When  working  out  twill  weaves  on  design  paper  it  should  be 
understood  that  whatever  kind  of  twill  the  weave  may  be,  the 


bbddde 

BDODBB 

□□□BBB 

□□BBBB 

□BBBfl:j 

BBBBDD 

□BDDDDDB 

BDDDDDBB 

DDDDDBBB 

DDDDBBBB 

DDDBBBBB 

□DBBBBBB 

DDDDDBOD 

ODDDBDDD 

ODDBDDDD 

DDBDDDDB 

DBDDDDBB 

BDDDDBBB 

DDDDBBBB 

■■■□□□■a 

BBBBDDDH 

DBBBBDDD 

DDBHBBDD 

BDDBBBBD 

DBDDBBBB 

BBBDDB 

BBDDBD 

BDDBDO 

DDBDDB 

DBDDBB 

BDDBBD 

DDBBDD 

DBBDDD 

DDDBBBBB 

DDDDBBBB 

BDDDDBBB 

DBDDDDBB 

OOBOOODB 

DODBODDO 

OOODBDDD 

DODODBDD 

BDDDDDBD 

BBDDDDDB 

BBBDDDDD 

BBBBDDDD 

BBBBBDDD 

BBBBBBDD 

DBBBBBBD 

Fig.  16  Fig.  17 


marks  or  blanks  for  one  repeat  should  not  be  extended  beyond 
the  number  of  ends  and  picks  that  has  been  decided  on.  For 
instance,  if  one  repeat  of  the  weave  occupies  4  ends  and  4  picks, 
the  fifth  end  would  be  like  the  first,  and  so  on;  also  the  fifth 
pick  would  be  like  the  first  pick,  and  so  on.  Consequently,  to 


§75  TWILL  WEAVES  AND  DERIVATIVES 


9 


show  one  repeat  only  4  ends  and  4  picks  are  necessary.  All 
regular  45°  twills  repeat  on  the  same  number  of  picks  as  ends, 
so  that  if  the  base  of  such  a  twill  occupies  12  ends, 
it  repeats  on  12  ends  and  12  picks.  Twills  that 
form  an  angle  of  more  than  45°  are  known  as  upright 
twills ,  while  those  that  form  an  angle  of  less  than 
45°  are  called  oblique ,  or  reclining ,  twills. 

8.  By  carefully  studying  the  following  regular 
45°  twills  and  the  explanations  previously  given,  a 
good  understanding  of  the  method  of  working  out 
twills  may  be  obtained.  Fig.  15  is  a  regular  45° 
twill  5323'  twilled  to  the  right;  Fig.  16  is  a  regular 
45°  twill  4  2 1 2 2  a  twilled  to  the  right;  Fig.  17  is  a 
regular  45°  twill  with  the  base  5 1 4 6  twilled  to  the 
left.  Several  twills  that  are  constantly  used  in  the 
construction  of  the  more  common  fabrics  are  known 
by  definite  names.  Among  them  are  the  filling- 
flush  prunelle ,  Fig.  18  (a);  the  warp 
flush  prunelle ,  Fig.  18  (b) ;  the  cassi- 
mere,  Fig.  18  ( c );  the  filling-flush 


(a) 


(5) 


(c) 

□□□■ 

■  □□□ 

(d) 

■■■□ 

□■■■ 


M 


□□□□I 


□□□■ 

■□□□ 


□■□□□ 

■□□□□ 


(/) 


IS5HDI 

mar 

irni 


□ 


crow >  Fig.  18  (<7);  the  warprflush  crow , 
Fig.  18  (<?);  the  filling-flush  Albert 
twill.  Fig.  18  (/);  the  warp-flush  Albert 
twill,  Fig.  18  {g)\  the  filling- flush 
broken  crow ,  Fig.  19  (a);  the  warp-flush 
broken  crow,  Fig.  19  (b);  the  Venetian 
twill.  Fig.  19  ( c );  and  the  Mayo,  or 
Campbell ,  twill.  Fig.  19  ( d ).  The 
weaves  shown  in  Fig.  19  are  not  regu¬ 
lar  twill  weaves  but  are  weaves  that  are  well 
known. 


(a). 

inn 

IB 

ID 


□ 


□I 


hr) 

Fig. 18 


(5) 

□HDI 

□nan 

HHDHD 

HDHDH 


(c) 


□□nnnnnn 

nnaanaan 

nnnmnnp 


(d) 

Fig.  19 


EXAMPLES  FOR  PRACTICE 

1.  A  regular  45°  twill  is  arranged  Vvt!  show  the 
complete  weave  on  design  paper. 

2.  State  what  angle  the  above  twill  would  form  in  the  cloth  if 
woven  with  54  ends  and  27  picks  per  inch,  using  the  same  counts  of 
warp  and  filling. 


92—10 


10 


TWILL  WEAVES  AND  DERIVATIVES 


75 


3.  Show  two  repeats  in  both  ends  and  picks  of  a  regular  45°  twill 
having  the  first  pick  arranged  s-akr. 

4.  State  what  angle  the  twill  given  in  answer  to  question  3  would 
form  in  the  cloth  if  woven  with  30  ends  and  60  picks  per  inch,  using 
the  same  counts  of  warp  and  filling. 


DERIVATIVES  OF  TWILL  WEAVES 

9.  Derivatives  Formed  by  Rearranging  Ends  or 
Picks. — The  number  of  what  may  be  termed  fundamental 
weaves  is  comparatively  small,  but  the  weaves  that  may  be 
derived  from  them  are  innumerable.  Thus,  if  a  simple 
twill  weave  is  shown  on  design  paper,  several  other  weaves 
may  be  obtained  from  it  by  rearranging  either  the  ends  or  the 
picks.  Designs  thus  obtained  are  termed  derivatives. 

To  illustrate  how  derivative  weaves  are  obtained,  a  regular 
45°  twill,  Fig.  20,  is  taken  and  three  other  weaves  formed 
from  it.  Suppose  that  it  is  desired  to  form  a  derivative 
weave  by  rearranging  the  ends  of  Fig.  20  in  1,  4,  7,  2,  5,  8, 
3,  6  order;  that  is,  the  first  end  of  the  new  weave  is  to  be  like 


□■■□■□□a 

BBOBLOBD 

BDCODBBB 

□□BBBBCO 

BBBDCmB 

□□□□BBBB 

□  BBBBarjLJ 

BBnCODBB 

□□□BBBBD 

BBBBOGOD 

BnOBBCDB 

□BBDGUBB 

BDdBDBBQ 

□□BBBDDB 

□BBODBBD 

BCDBBBCD 

□BBDBODB 

BBOL'CBB'J 

Fig.  20  Fig.  21  Fig.  22 


the  first  end  in  Fig.  20,  the  second  end  of  the  new  weave  like 
the  fourth  end  of  Fig.  20,  the  third  end  like  the  seventh,  the 
fourth  like  the  second,  and  so  on.  It  will  be  seen  that  com¬ 
mencing  with  the  first  end  of  Fig.  20,  every  third  end  is  taken 
until  by  this  method  the  first  end  is  reached  again,  when  the 
design  commences  to  repeat.  Fig.  21  shows  the  twill 
in  Fig.  20  rearranged  in  this  order. 

Suppose  that  it  is  desired  to  arrange  the  ends  in  the  twill 
in  Fig.  20  in  1,  2,  5,  6,  3,  4,  7,  8  order.  Fig.  22  shows  that 
the  first  and  second  ends  are  like  the  first  and  second  ends 
in  Fig.  20;  that  the  third  end  is  like  the  fifth  in  Fig.  20;  the 
fourth  is  like  the  sixth;  the  fifth  like  the  third,  and  so  on. 


§75  TWILL  WEAVES  AND  DERIVATIVES 


11 


These  two  examples  show  that  a  number  of  weaves  may 
be  obtained  from  a  regular  twill  weave,  or  in  fact  from  any 
weave.  After  deriving  a  weave  from  a  twill  still  other 
weaves  may  be  obtained  by  rearranging  the  ends  of  the 
derivative. 

When  a  weave  is  to  be  rearranged  in  its  picks,  the  same 
process  is  employed  as  when  rearranging  the  ends.  Sup¬ 
pose,  for  example,  that  it  is  desired  to  rearrange  the  picks 
of  Fig.  20  by  taking  the  first  3  picks,  missing  the  next  3, 
taking  the  next  3,  and  so  on  until  the  weave  repeats.  Fig.  23 
shows  the  twill  in  Fig.  20  rearranged  in  this  manner;  the  first 
3  picks  of  Fig.  20  are  copied  for  the  first  3  picks 
of  Fig.  23;  the  next  3  picks  of  Fig.  20  are 

skipped;  the  next  3,  that  is  the  seventh,  eighth, 

and  first,  are  copied  for  the  fourth,  fifth,  and 
sixth  picks  of  Fig.  23;  and  so  on  until  the  weave 
repeats. 

In  rearranging  any  weave  in  either  its  ends 
or  picks,  the  repeat  becomes  an  important  mat¬ 
ter  and  should  always  be  carefully  considered. 

Taking,  for  example,  Fig.  23,  it  will  be  noticed  that  the 
first  pick  of  this  figure  is  like  the  first  pick  of  Fig.  20,  and 

also  that  in  working  out  this  new  weave  the  sixth  pick  of 

Fig.  23  will  be  the  same  as  the  first  pick,  but  the  weave 
does  not  repeat  on  this  pick,  since  the  next  pick,  the  seventh, 
is  not  like  the  second.  However,  after  working  out  12  picks, 
the  weave  repeats,  since  the  next,  or  thirteenth,  pick  is  like 
the  first,  the  fourteenth  like  the  second,  the  fifteenth  like  the 
third,  and  so  on. 

10.  In  selecting  an  order  by  which  to  rearrange  either 
the  ends  or  the  picks  of  a  weave,  care  should  be  taken  to 
select  one  that  will  cause  the  weave  to  repeat  correctly.  For 
example,  suppose  that  it  was  attempted  to  rearrange  the 
ends  of  an  8-end  twill  by  moving  in  twos;  that  is,  taking  one 
and  skipping  one;  the  order  would  be  1,  3,  5,  7,  when  it 
would  come  back  to  1  again  and  continue  in  the  same  order. 
This,  of  course,  would  be  a  repeat  in  a  certain  sense  of  the 


■□■□□■□a 

□BEOBOBB 

BDBBDBCD 

□BBDBdOB 

BBDBDDBD 


Fig.  23 


12 


TWILL  WEAVES  AND  DERIVATIVES  §75 


word  but  would  not  be  a  repeat  of  the  weave,  since  all  of 
the  ends  of  the  original  weave  would  not  be  used. 

When  it  is  desired  to  learn  in  what  order  the  ends  may  be 
taken  to  make  the  weave  repeat  when  rearranging  the  ends 
or  picks  of  a  weave  by  means  of  taking  one  end  and  skipping 
a  certain  number,  find  two  numbers  that,  when  added  together, 
will  equal  the  number  of  ends  or  picks  on  which  the  weave 
is  complete  but  that  cannot  be  divided  into  each  other  or 
into  the  number  of  ends  or  picks  of  the  weave  without  a 
remainder.  When  twills  are  rearranged  in  this  manner  they 
are  said  to  be  rearranged  in  satin  order. 

Suppose  that  it  is  desired  to  rearrange  the  ends  of  a  twill 
that  is  complete  on  12  ends  and  12  picks.  It  will  be  seen 
that  7  and  5  are  two  numbers  that  cannot  be  divided  into 
each  other  or  into  12  without  a  remainder  but  that  when 
added  together  will  equal  12.  Therefore,  the  ends  of  the 
weave  may  be  rearranged  by  moving  in  sevens  or  fives. 
That  is,  if  the  ends  are  arranged  on  a  base. of  7,  the  first  end 
of  the  weave  is  copied,  while  the  next  six  are  missed,  and 
so  on,  which  will  give  the  following  order:  1,  8,  3,  10,  5,  12, 
7,  2,  9,  4,  11,  6;  here  the  weave  will  commence  to  repeat  and 
consequently  will  not  need  to  be  continued.  On  the  other 
hand,  take  two  numbers  such  as  8  and  4;  these  added 
together  make  12,  but  it  will  be  noticed  that  4  can  be  divided 
into  8  and  also  into  12.  It  would  not  therefore  be  possible 
to  rearrange  a  12-end  twill  with  either  of  these  numbers.  To 
show  that  this  is  correct  suppose  that  it  is  attempted  to  rear¬ 
range  the  ends  of  a  12-end  weave  on  a  basis  of  4,  that  is, 
taking  the  first  end  and  missing  the  next  3  ends.  The  order 
will  be  1,  5,  9,  and  if  the  next  3  ends  are  missed  it  will  be  seen 
that  it  is  necessary  to  take  the  first  end  again,  when  exactly 
the  same  ends  will  be  taken,  and  consequently  only  these  3 
ends  will  be  used,  which  will  not  give  a  repeat  of  the  weave. 

11.  Derivatives  Formed  by  Combining  Twills. 

Another  method  of  obtaining  derivative  weaves  and  one 
quite  generally  adopted  is  that  of  combining  two  weaves 
either  in  their  ends  or  picks.  Suppose  that  from  the  two 


§75  TWILL  WEAVES  AND  DERIVATIVES 


13 


weaves  shown  in  Figs.  24  and  25  it  is  desired  to  form  a  new 
weave  by  combining  them  pick  and  pick;  that  is,  first  taking 
a  pick  of  one  weave  and  then  a  pick  of  the  other,  as  in 
Fig.  26.  It  will  be  noticed  that  the  first  pick  of  Fig.  26  is  the 
first  pick  of  Fig.  24;  the  second  pick  of  Fig.  26  is  the  first 
pick  of  Fig.  25;  the  third  pick  of  Fig.  26  is  the  second  pick  of 
Fig.  24;  the  fourth  pick  of  Fig.  26 
is  the  second  pick  of  Fig.  25.  This 
is  continued  until  the  picks  in  both 
Figs.  24  and  25  are  all  used,  when 
the  weave  will  be  complete. 

There  are  numerous  other 
weaves  that  may  be  obtained  by 
combining  these  two  weaves  pick  and  pick.  Take  for  example 
Fig.  27,  which  is  different  from  the  weave  shown  in  Fig.  26 
and  yet  is  obtained  by  combining  Figs.  24  and  25  pick  and 
pick.  By  carefully  noticing  Fig.  27,  it  will  be  seen  that  in 
this  case  the  second  pick  of  Fig.  25,  instead  of  the  first,  is 
the  first  pick  taken,  as  was  the  case  with  Fig.  26.  Thus, 
the  first  pick  of  Fig.  27  is  the  first  pick  of  Fig.  24;  the  second 
pick  of  Fig.  27  is  the  second  pick  of  Fig.  25;  the  third  pick  of 


■DBDDBDB 

□Bminii 

BDDBD0BD 

□□BDBBDB 

■DBBDBDD 

□■■□■□□a 

■■□■□□■□ 


Fig.  24 


&■□■□■□■ 

■□■□■□■■ 

□BDBDBBB 

■DBDBBBD 

■□■■■□■□ 

□■Banana 

BBSaBDBD 


Fig.  25 


BBDBDBDB 

■□■□□■□■ 

BDBDBDBB 

□BDDBDBB 

□BDBDBBB 

BDDBDBBD 

■DBDBBBD 

□□BDBBDB 


□BDBBBDB 

□BDBBDBD 

BDBBBDBD 

■□■■□■□□ 

□BBBDBDB 

□BBDBDDB 

BBBDBDBD 

■BDBDDBD 


□■□■□ 

BDBDDBDB 

BBDBDBDB 

□■□□■□■■ 

■□■□■□■■ 

□□■□■■□ 


■□■□■■■□ 

□■□■■□■□ 

□■□■■■□■ 

“□■■□■□□ 

□■■■□■□ 

□■■□■□□■ 

■□■□□■□ 


□■■■□■□ 

□■□□■□■r 

■□□■□■■□ 

■□■□■□■ 

□□■□■■□ 


□BDBDBI 

□■□■■■□ 

□■■□■□□ 

□■■□■□□ 

□■■■□■□ 

■□■□□■□ 


Fig. 26 


Fig.  27 


Fig.  28 


Fig.  27  is  the  second  pick  of  Fig.  24;  the  fourth  pick  of  Fig.  27 
is  the  third  pick  of  Fig.  25;  and  this  is  continued  until  all  the 
picks  in  both  weaves  are  used,  when  the  new  weave  will  com¬ 
mence  to  repeat. 

Still  another  weave  may  be  obtained  by  commencing  with 
the  first  pick  of  Fig.  24  but-having  for  the  second  pick  of  the  new 


14 


TWILL  WEAVES  AND  DERIVATIVES  §75 


weave  the  third  pick  of  Fig.  25.  Fig.  28  shows  such  a  weave, 
and  by  carefully  studying  each  pick  it  will  be  noticed  that  the 
first  pick  of  Fig.  28  is  the  first  pick  of  Fig.  24;  the  second  pick 
of  Fig.  28  is  the  third  pick  of  Fig.  25;  the  third  pick  of  Fig.  28 
is  the  second  pick  of  Fig.  24;  the  fourth  pick  of  Fig.  28  is  the 
fourth  pick  of  Fig.  25;  the  fifth  pick  of  Fig.  28  is  the  third 
pick  of  Fig.  24;  the  sixth  pick  of  Fig.  28  is  the  fifth  pick  of 
Fig.  25;  and  so  on  until  all  of  the  picks  in  both  Figs.  24  and 
25  are  used,  whereupon  the  weave  commences  to  repeat. 

In  addition  to  combining  weaves  pick  and  pick,  they  may 
also  be  combined  by  taking  2  picks  of  one  weave  and  1  pick 
of  the  other  or  by  taking  2  picks  of  one  weave  and  2  picks  of 
the  other;  or  in  short,  almost  any  method  may  be  adopted, 
and  consequently  the  number  of  weaves  that  may  be  obtained 
is  almost  without  a  limit.  Weaves  should  be  combined  in 
such  a  manner  that  long  floats  of  either  warp  or  filling  will 
be  avoided.  If  the  combining  of  different  weaves  is  prac¬ 
ticed,  it  will  be  seen  that  frequently  when  two  weaves  are 
combined  by  one  method  long  floats  will  appear,  but  that  by 
starting  on  a  different  pick  or  by  using  a  different  method  of 
combination  the  same  two  weaves  may  be  combined  without 
this  defect. 

12.  When  combining  or  copying  twills,  the  natural  tend¬ 
ency  is  to  look  from  the  designs  to  be  copied  to  the  design  being 
made;  this  method  occupies  considerable  time  and  is  liable 
to  cause  errors.  A  better  method  is  to  mark  the  first  pick  of 
the  twill  and  then  run  it  up  in  the  same  manner  as  regular 
twills.  When  two  twills  are  to  be  combined  in  their  picks, 
it  is  a  good  plan  to  indicate  on  the  design  paper  the  picks 
on  which  one  twill  is  to  be  placed  and  then  run  up  each  twill 
separately,  placing  each  on  its  own  picks. 

Though  the  two  weaves  that  have  been  combined  are  com¬ 
plete  on  the  same  number  of  ends  and  picks,  yet  it  frequently 
occurs  that  weaves  are  combined  that  are  not  complete  on 
the  same  number  of  ends  and  picks;  in  these  cases  it  is 
important  to  know  when  the  weave  formed  by  the  combina¬ 
tion  commences  to  repeat.  To  illustrate  this  point,  suppose 


75  TWILL  WEAVES  AND  DERIVATIVES 


15 


that  it  is  desired  to  combine  pick  and  pick  an  8  X  8  twill  with 
a  6  X  6  twill.  When  the  8  picks  of  the  first  weave  have  been 
used,  all  6  picks  of  the  second  weave  will  have  been  used 
once  and  in  addition  2  of  them  will  have  been  used  the  second 
time;  therefore,  the  weave  will  not  repeat  here.  When  the 
8  picks  of  the  first  weave  have  been  used  twice,  the  6  picks 
of  the  second  weave  will  have  been  used  twice  and  4  of  them 
the  third  time;  therefore,  the  weave  does  not  repeat  as  yet.' 
When  the  8  picks  of  the  first  weave  have  been  used  three 
times,  all  the  picks  of  the  second  weave  will  have  been  used 
exactly  four  times,  and  consequently  the  weave  will  repeat 
at  this  point.  Thus  the  first  weave  will  be  repeated  in  its 
picks  three  times,  making-  24  picks,  and  the  second  weave 
will  be  repeated  four  times,  making  24  picks,  and  since  these 
two  weaves  are  combined  pick  and  pick  the  resulting  weave 
will  occupy  48  picks. 

On  the  other  hand,  24  ends  will  be  occupied  by  the  result¬ 
ing  weave  in  order  to  have  the  weave  repeat  in  its  ends. 
Therefore,  any  weave  formed  by  combining  pick  and  pick  an 
8x8  twill  with  a  6  X  6  twill  will  occupy  24  ends  and  48  picks 
before  it  will  commence  to  repeat.  In  other  words,  weaves 
when  combined  pick  and  pick  will  occupy  a  number  of  ends 
equal  to  the  least  common  multiple  of  the  number  of  ends  on 
which  each  individual  weave  is  complete,  and  a  number  of 
picks  equal  to  twice  the  least  common  multiple  of  the  num¬ 
ber  of  picks  in  one  repeat  of  each  of  the  original  weaves. 
In  the  above  example  the  least  common  multiple  of  8  and 
6  is  24;  therefore,  the  completed  weave,  as  stated,  will  occupy 
24  ends  and  2  X  24  =  48  picks. 

13.  Derivative  weaves  are  also  formed  by  combining  the 
ends  of  two  weaves.  The  principles  governing  the  combining 
of  twills  in  their  picks,  also  govern  this  case.  Figs.  29  and  30 
show  two  twills  that  it  is  desired  to  combine  in  this  manner. 
Since  they  occupy  a  different  number  of  ends,  both  the  method 
of  combining  twills  end  and  end  and  the  method  of  deter¬ 
mining  the  repeat  of  a  weave  formed  by  combining  twills 
that  occupy  a  different  number  of  ends  or  picks  will  be 


16 


TWILL  WEAVES  AND  DERIVATIVES  §75 


understood.  Fig.  29  occupies  10  ends,  while  Fig.  30  occupies 
only  5  ends;  consequently,  Fig.  30  must  be  repeated  twice  in 
its  ends  in  order  to  have  it  occupy  the  same  number  of  ends 
as  Fig.  29.  It  must  also  be  repeated  twice  in  its  picks  in 
order  to  have  it  occupy  the  same  number  of  picks  as  Fig.  29. 
When  Fig.  30  has  been  repeated  in  both  ends  and  picks  it 
will  occupy  10  ends  and  10  picks;  there  will  then  be  two 
weaves  each  occupying  10  ends  and  10  picks 
that  are  to  be  combined  end  and  end.  Con¬ 
sequently,  the  resulting  weave  will  occupy 
iCOH  20  ends  and  10  picks.  If  these  two 
weaves  were  combined  pick  and 
pick,  the  resulting  weave  would 
occupy  10  ends  and  20  picks. 

Fig.  31  shows  the  weave  ob¬ 
tained  by  combining  Figs.  29  and  30  end  and  end,  commencing 
with  the  first  end  of  Fig.  29  and  the  second  end  of  Fig.  30. 
It  will  be  seen  that  the  first  end  of  Fig.  31  is  the  first  end 
of  Fig.  29;  the  second  end  of  Fig.  31  is  the  second  end  of 
Fig.  30;  the  third  end  of  Fig.  31  is  the  second  end  of  Fig.  29; 
the  fourth  end  of  Fig.  31  is  the  third  end  of  Fig.  30;  and  so 
on  until  the  weave  repeats.  It  will  be  noticed  that  when  all 
the  ends  of  Fig.  30  have  been  used  once  they  are  used  the 
second  time  in  regular  order  to  make  the  weave  repeat. 


BDDi 
□□■■■ 
□BEAD 

BBBDD 


Fig. 29 


Fig. 30 


BBBDDDBB 

■■□□□□□■ 

□BBB 

BBBB 

BBBBDBBD 

BBDBBDBD 

BDBBDBDB 

aBDBDBDn 

□fl 

BB 

□□: 

□□■■■■■■ 

■■■■■■□□ 

■■□□□□□■ 

□□□□□■■■ 

□□□■■■■a 

□■■■■■■□ 

BBBBBDDD 

□□□BHBBB 

□BBBBBBD 

BBRBBDQQ 

BBBDDDBB 

BLZODBBBB 

BBBBBBDD 

□□BBBDDB 

BDBHBDnn 

■□□BBBDD 

BBDBBBDD 

□BBDBDBB 

BDBDBBDB 

BDBBDBDB 

BBDBDBDD 

□BDBDDBD 

□BDQBDBB 

□□BDBflBB 

BDBBBBDB 

□BDBDDBD 

□BDDBDBB 

□DBDBBBB 

BDBBBBDB 

BBBBDBBD 

BBDBBDBD 

□BBDBDBB 

BDBDBBDB 

BBBB 

BBDB 

□  BAD 
BDBD 
BDBB 
BBDB 

□  BDB 
□BDD 

Fig.  31  Fig.  32 


Fig.  32  shows  another  weave  formed  by  combining  Figs.  29 
and  30  end  and  end.  In  this  case  the  first  end  of  Fig.  29  is 
the  first  end  of  that  weave  taken,  while  the  fifth  end  of  Fig.  30 
is  the  first  end  of  that  weave  taken.  Since  the  principles  of 
producing  different  weaves  when  combining  them  pick  and 
pick  apply  equally  well  to  combining  weaves  end  and  end, 


75  TWILL  WEAVES  AND  DERIVATIVES 


17 


the  number  of  different  weaves  that  it  is  possible  to  produce 
by  this  method  is  as  varied  as  the  number  that  may  be 
obtained  by  combining  weaves  in  their  picks.  Moreover, 
the  weaves  that  are  combined  may  be  rearranged  in  either 
their  ends  or  picks  after  the  manner  described  and  then  com¬ 
bined,  etc.,  so  that  the  number  of  weaves  that  may  be  obtained 
in  this  manner  is  almost  without  limit. 

When  twills  are  combined  the  angle  is  changed.  Thus,  if 
two  regular  45°  twills  are  combined  end  and  end  they  form 
a  27°  twill;  if  they  are  combined  pick  and  pick  they  form  a 
63°  twill.  If  three  regular  45°  twills  are  combined  by  taking 
a  "pick  of  each  in  regular  order  they  form  a  72°  twill;  if  they 
are  combined  by  taking  an  end  of  each  in  regular  order  they 
form  an  18°  twill. 

EXAMPLES  FOR  PRACTICE 

1.  Show  one  repeat  of  the  regular  twill  on  design  paper. 

2.  From  the  weave  formed  in  answer  to  question  1  form  a  weave  by 
arranging  the  ends  .in  the  following  order:  taking  the  first  end,  skip¬ 
ping  2,  taking  the  next,  skipping  2,  and  so  on  until  the  new  weave 
repeats. 

3.  Take  the  two  weaves  given  in  answer  to  questions  1  and  2  and 
combine  them  pick  and  pick,  taking  the  first  pick  of  the  weave  given 
for  question  1,  then  the  first  pick  of  the  weave  given  for  question  2,  and 
so  on. 

4.  If  a  10  X  10  twill  is  combined  pick  and  pick  with  a  6  X  6  twill, 
on  how  many  ends  and  picks  will  the  new  weave  be  complete? 

5.  If  a  16  X  16  weave  is  combined  end  and  end  with  an  8  X  8  weave, 
how  many  ends  and  picks  will  the  new  weave  occupy? 


FANCY  TWILLS 

14.  In  addition  to  the  regular  45°  twills  there  are  many 
other  twill  weaves  that  may  be  considered  as  subdivisions  of 
regular  twills;  these  are  very  useful  in  many  classes  of 
fabrics.  The  first  of  these  weaves  that  will  be  considered 
are  those  known  as  fancy  twills.  These  weaves  generally 
consist  of  a  regular  twill  weave  between  the  twill  lines  of 
which  are  placed  sometimes  other  twills  running  in  the 


18 


TWILL  WEAVES  AND  DERIVATIVES  §75 


opposite  direction,  sometimes  small  spots,  and  sometimes 
other  small  weaves. 

The  first  step  in  making  such  weaves  is  to  construct  a  bold 
line  of  twill  running  across  the  design,  as  shown  in  Fig.  33. 
In  order  to  change  this  regular  twill  into  a  fancy  twill,  it  is 


□□□□□■■■ 

□□□□□□■■ 

□□□□□□□■ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□■■■ 

□□□□□□■■ 

□□□□□□□■ 

□□□□□□□■ 

□□□□□□■■ 

□□□□□■■■ 

□□□□□■■■ 

□□□□□□■■ 

□□□□□□□■ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□■■□■■a 

□BBOOOBB 

BBOOBBOB 

BOOBBOOO 

OOBBOOBB 

□BBDDBBD 

BBDQBBDD 

□□□BBDDB 

BODBBOOB 

BBOOBOBB 

OBBOOBBB 

□□BOBBBB 

BDOBBBBO 

BOBBBBOO 

□BBBBOBO 

BBBBnOBB 

BODBBOOB 

BBOOBOBB 

OBBOOBBB 

OOBOBBBB 

BOOBBBBO 

BOBBBBOO 

□BBBBOBO 

BBBBODBB 

BBBOBOOB 

BBOOBBOO 

BOBDOBBO 

□OBBOOBB 

BOOBBOOB 

BBOOBBOO 

OBBOOBBO 

OOBBODBO 

Fig.  33  Fig.  34 


necessary  to  insert  some  other  weave  on  the  blank  squares. 
Fig.  34  shows  this  twill  changed  to  a  fancy  twill;  the  method 
employed  is  that  of  running  short  lines  of  twill  in  a  direc¬ 
tion  opposite  to  that  of  the  main  line  of  twill. 

Figs.  35  and  36  show  two  other  fancy  twills.  In  Fig.  35, 
the  fancy  twill  is  formed  by  placing  small  spots  between  the 


main  lines  of  twill;  while  in  Fig.  36,  the  fancy  twill  is  formed 
by  placing  a  small  weave,  as  shown,  between  the  main  lines 
of  twill. 

In  making  these  weaves  it  should  be  noted  that  the  entire 
weave  runs  up  in  a  twill  line  and  that  it  is  essential  to  have 


OBOOBOBB 

OBOBOBOB 

BBOBOOBO 

OOOBOBOB 

BBBBOBOO 

OODOOBOB 

BOBBBBDB 

□BOOOOOB 

BOBOOBOB 

BOBOBOBB 

BOOBOBBB 

BOBOBBBO 

OBOBBBOB 

BOBBBOBO 

OBBBOBOB 

BBBOBOOO 

BOBOOBOB 

BOBOBOBB 

BOOBOBBB 

BOBOBBBO 

OBOBBBOB 

BOBBBOBO 

OBBBOBOB 

BBBOBOOO 

BODOODBO 

BOBBBBOB 

BOBOOODO 

OOBOBBBB 

BOBOBOOO 

OBOOBOBB 

BOBOBOBO 

BBOBOOBO 

Fig.  36 


BBOOOOBB 

BOOOOOBB 

OBOOOBOO 

OOBBBOOO 

OOBBBOOO 

OOBBBOOO 

OBDOOBOB 

BODOODBO 

BOOOOBOB 

BOOOBOBB 

OBOBOBBB 

OOBOBBBO 

OBOBBBOO 

BOBBBOOO 

OBBBOBOO 

BBBOOOBB 

BOOOOBOB 

BOOOBOBB 

OBOBOBBB 

OOBOBBBO 

OBOBBBOO 

BOBBBOOO 

OBBBOBOO 

BBBOOOBB 

BOOOOOBB 

OBDOOBOB 

OOBBBOOO 

OOBBBOOO 

ODBBBOOD 

OBOODBOO 

BOOOOOBB 

OBOOOOBB 

Fig.  35 


§75  TWILL  WEAVES  AND  DERIVATIVES 


19 


the  first  and  last  ends  and  also  the  first  and  last  picks  match; 
that  is,  the  first  end  of  the  weave  should  be  a  continuation  of 
the  last  end  and  the  first  pick  should  be  a  continuation  of  the 
last  pick,  so  that  the  weave  will  continue  perfectly  when 
repeated  in  either  direction.  In  order  to  accom¬ 
plish  this,  it  is  necessary  to  have  the  spot  or 
weave  that  is  inserted  occupy  a  number  of  picks 
that  can  be  divided  into  the  number  of  picks  on 
which  the  entire  weave  is  complete;  otherwise,  it 
will  be  necessary  to  continue  the  twill  and  spot 
weaves  until  a  point  is  reached  where  they  repeat  together, 
which  will  occur  on  a  number  of  picks  equal  to  the  least 
common  multiple  of  the  number  of  picks  required  by  the 
twill  and  by  the  spot  weave. 

In  Fig.  34,  the  small  twill  weave  may  be  said  to  occupy 
4  picks,  which  is  exactly  divisible  into  16,  the  number  of 
picks  that  one  repeat  of  the  completed  weave  occupies.  In 
Figs.  35  and  36,  each  inserted  weave  may  be 
said  to  occupy  4  picks;  this  number  is  exactly 
divisible  into  16,  the  number  of  picks  that  the 
complete  weaves  occupy. 

When  the  weave  that  is  inserted  between  the 
twill  lines  repeats  on  a  different  number  of  picks, 
the  twill  and  inserted  weave  are  both  repeated 
in  the  picks  until  they  repeat  together,  which 
occurs  on  a  number  of  picks  equal  to  the  least 
common  multiple  of  the  number  of  picks  on 
which  the  twill  and  spot  weave  are  complete. 
For  instance,  suppose  that  it  is  desired  to  make 
a  fancy  twill  weave  by  inserting  Fig.  37  between 
the  twill  lines  of  a  twill.  Fig.  37  is  complete 
on  6  picks,  while  the  twill  requires  8  picks;  there¬ 
fore,  the  completed  fancy  twill  will  require  24  picks,  since  24 
is  the  least  common  multiple  of  6  and  8  and  both  will  not 
commence  to  repeat  together  until  the  twenty-fifth  pick. 
Fig.  38  shows  the  fancy  twill  thus  obtained. 


□■□■□■a 

□□□■□■■a 

— '■□□BBBD 

□BDBBBDB 

□BBBDDB 

□BBBC'BLJD 

“1BDBDBD 


aarnnana 

— □BBDDBB 
□BDBOBBB 
□BBDBBBD 

□□□aaana 

“□BBBOBD 

□BBBDCOB 

bbbdbbdd 


■□BDBDB 
BCDBBDBB 
□BCDDBBB 
BDBdBBBa 

□BDBBB1ZD 

□□aianaa 

□BBBDBDB 

BBBDDBBD 


Fig. 38 


□□□□aa 

□□□ana 

□□□□BD 

□Banna 

anaDDD 

aaaroa 


20 


TWILL  WEAVES  AND  DERIVATIVES  §75 


ENTWINING  TWITES 

15.  Entwining:  twills  are  constructed  from  regular 
twills  by  running  sections  of  twill  lines  both  to  the  right  and 
to  the  left  so  that  each  section  meets  other  sections  at  right 
angles.  As  their  name  indicates,  the  effects  produced  by 
these  twills  have  an  entwined  or  interlaced  appearance;  the 
more  perfect  ones  are  obtained  when  the  separate  sections 
are  composed  of  equally  flushed  twills,  although  in  some 
cases  unequally  flushed  twills  give  good  results.  Fig.  39 
shows  an  entwining  twill  constructed  by  running  two  twill 
lines  of  the  cassimere  to  the  right  and  two  to  the  left,  the 
weave  repeating  on  8  ends  and  8  picks.  Although  two 

repeats  in  the  ends  and  two  in  the 
picks  are  shown  here,  when  construct¬ 
ing  these  twills,  the  number  of  ends 
and  picks  that  one  repeat  of  the  weave 
will  occupy  must  be  ascertained  at 
the  start.  This  may  be  found  by 
multiplying  the  number  of  ends  and 
picks  required  for  one  repeat  of  the 
weave  used  by  the  number  of  twill 
lines  in  each  section;  thus,  since  in 
Fig.  39  two  twill  lines  of  the  cassi¬ 
mere,  or  twill  are  used,  the  completed  entwining  twill 
occupies  8  ends  and  8  picks  (2x4  =  8).  If  it  is  desired  to 
construct  an  entwining  twill  with  the  cassimere  twill  and  have 
three  twill  lines  in  each  section,  12  ends  and  12  picks  (3x4 
=  12)  will  be  required  to  show  one  repeat;  if  four  twill  lines 
in  a  section  are  wanted,  16  ends  and  16  picks  will  be  required, 
and  so  on.  If  the  6-end  regular  twill  is  used  as  a  base 
instead  of  the  cassimere  and  three  twill  lines  are  desired  in 
each  section,  18  ends  and  18  picks  (3  X  6  =  18)  will  be  required 
for  one  repeat  of  the  completed  entwining  twill.  In  construct¬ 
ing  an  entwining  twill,  therefore,  it  is  first  necessary  to  decide 
on  the  twill  weave  to  be  used  as  a  base  and  also  on  the  number 
of  twill  lines  to  be  used  in  each  section,  from  which  the  num¬ 
ber  of  ends  and  picks  required  for  one  repeat  can  be  found. 


■□■□■□□a 

BBDDBBDD 

□BDBDBBD 

□□BBDDBB 

□BBDDBDB 

BBDDBBDD 

BDDBBDBD 

DDBBDDBB 

BDBDBDDB 

BBDDBBDD 

□BDBDBBD 

□□BBDDBB 

□BBDDBDB 

BBDDBBDD 

BDDBBDBD 

BBDDBBDD 

BDDBBDDB 

□DBBDBBD 

□BBDDDBB 

BDDBBDDB 

BBDDBBDD 

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CBBCGCBB 

□□BBDDBB 

BDBDBDDB 

BBDDBBDD 

□BDBDBBD 

□□BBDDBB 

□BBDDBDB 

BBDDBBDD 

BDDBBDBD 

Fig.  39 


75  TWILL  WEAVES  AND  DERIVATIVES 


21 


To  illustrate  the  method  of  constructing  these  weaves, 
suppose  that  it  is  desired  to  make  an  entwining  twill  with 
the  cassimere  twill  ^2,  having  five  twill  lines  in  each  section, 
which  will  give  an  entwining  twill  complete  on  20  ends  and 
20  picks  (5x4  =  20).  The  first  step  is  to  run  up  the  first 
twill  line  of  one  section,  as  shown  in  Fig.  40  ( a ),  continuing 


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(a) 


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BBCO 

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BBaaBBaa 

aaaaaaaa 

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□□□□BBaa 

□□□aaaaa 

□□Banana 

aaaaaaaa 

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□□□□□□□B 

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BDBmBBD 

Bamaam 

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(6) 

□□BBaaBB 

□BBDDBBD 

BBaaBBaa 

BaaBBaaa 

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Baaa 

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aaaBBaaa 
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□BBaaBBa 
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aaaBBaaa 

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BBaaaaaa 

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BBaa 

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(c)  ( d ) 

Fig.  40 

it  for  a  number  of  ends  equal  to  one-half  the  total  number  of 
ends  to  be  occupied  by  the  repeat.  Next  insert  the  first  twill 
line  of  the  section  of  twill  lines  that  run  in  the  opposite  direc¬ 
tion,  starting  it  on  the  next  end  to  and  just  above  the  last 
riser  of  the  first  twill  line  and  running  it  down  in  the  oppo¬ 
site  direction,  as  shown  in  Fig.  40  ( b ).  Next  return  to  the 


22 


TWILL  WEAVES  AND  DERIVATIVES 


75 


first  section,  that  is,  the  one  running  to  the  right,  and  com¬ 
plete  it  by  running  the  four  other  twill  lines  parallel  to  the 
first  twill  line  that  has  already  been  obtained.  Each  twill 
line  must  be  continued,  as  shown  in  Fig.  40  (c),  until  it 


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(a) 


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BG'UGBBBLi 

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BBDBBBDD 

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Fig.  41 


(i) 


occupies  the  same  number  of  ends  as  the  first  twill  line; 
namely,  a  number  of  ends  equal  to  one-half  of  the  number 
occupied  by  the  completed  weave,  or  in  this  case  10  ends. 

By  completing  the  sec¬ 
tion  of  twill  lines  running 
to  the  left  in  the  same 
manner,  that  is,  by  adding 
the  other  four  twill  lines 
parallel  to  the  one  already 
obtained,  the  completed 
weave  is  obtained,  as 
shown  in  Fig.  40  (d). 

When  the  warp  floats 
over  more  than  2  picks  in 
a  twill  used  as  the  base 
of  an  entwining  twill,  it  is 
usually  advisable  to  add 
one  or  more  extra  risers 
to  the  ends  of  each  warp  twill  line  in  order  to  make  the  twill 
lines  meet  each  other  better  and  also  to  shorten  the  warp 
floats  on  the  back  of  the  cloth  at  the  junction  of  the  right  and 
left  twill  lines.  For  instance,  Fig.  41  ( a )  shows  an  entwining 


□□□□□□□□ 

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Fig. 42  (a) 


§75  TWILL  WEAVES  AND  DERIVATIVES 


23 


twill  constructed  with  three  lines  of  the  regular  twill  in 
each  section,  and  while  this  weave  is  perfectly  constructed, 
if  one  extra  riser  is  added 
to  each  end  of  every  twill 
line,  as  shown  in  Fig.  41 
(b) ,  the  weave  will  be  en¬ 
hanced  in  value.  It  is 
very  often  necessary  to 
alter  the  ends  of  each 
twill  line,  either  by  add¬ 
ing  or  taking  out  risers  in 
order  to  make  each  twill 
line  meet  others  in  the 
best  possible  manner; 
especially  is  this  true  in 
the  case  of  entwining 
twills  based  on  unequally 
flushed  weaves.  As  the  repeat  of  the  weave  is  already  deter¬ 
mined,  the  addition  of  extra  risers  will  not  alter  the  number 
of  ends  and  picks  in  the  repeat  nor  the  number  of  harnesses 

necessary  to  weave  the 
design. 

Fancy  entwining- twill 
effects  are  obtained  by 
omitting  one  or  more 
twill  lines  from  each  sec¬ 
tion  and  continuing  the 
remaining  twill  lines  of 
each  section  until  they 
meet  those  of  the  other 
section.  By  this  means 
two  blank  spaces  are  made 
in  the  weave,  in  which 
other  weaves  may  be  in¬ 
serted.  To  illustrate  the 
construction  of  these  weaves,  suppose  that  it  is  desired  to 
make  a  fancy  entwining-twill  effect  on  24  ends  and  24  picks 
with  the  *-g  twill.  In  an  ordinary  entwining  twill,  this  would 


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umumumnu 
mmmomm db 
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Fig.  42  (c) 


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BBBDDDBB 

BBDDDBBB 

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BBDDDDDD 

BBBDDDDD 

□BBBDDDB 

□DBBBDBB 

DDDBBBDB 

□DDDDDDD 

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□□□□□□□a 

□□□□□□□B 

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BDDDBBBD 

BBDBBBDD 

Fig. 42  (i) 


24 


TWILL  WEAVES  AND  DERIVATIVES  §75 


require  four  twill  lines  in  each  section,  but  since  this  is  to  be 
a  fancy  effect  two  of  the  twill  lines  in  each  section  will  be 
omitted.  Fig.  42  (a)  shows  the  weave  constructed  up  to  this 
point,  but  since  two  twill  lines  have  been  omitted  from  each 
section  it  is  necessary  to  continue  the  two  remaining  twill 
lines  across  the  space  that  would  have  been  occupied  by  the 
other  twill  lines  until  they  meet  those  of  the  other  section, 
as  shown  in  Fig.  42  (t>).  This  leaves  two  blank  spaces,  as 
shown,  in  which  any  desired  weave  may  be  inserted,  thus  pro¬ 
ducing  a  fancy  entwining  twill,  as  shown  in  Fig.  42  (c) ,  where 
the  inserted  weave  is  indicated  by  the  shaded  risers. 


CURVED  TWILLS 

16.  Curved  twills  are  those  in  which  the  twill  lines  have 
a  wavy,  or  curved,  nature  instead  of  being  perfectly  straight 
as  in  an  ordinary  twill  weave.  There  are  two  methods  of 
constructing  these  weaves,  although  the  results  are  very 
similar  in  either  case. 

The  first  method  consists  of  amalgamating  several  sections 
of  twill  weaves  running  at  different  angles,  while  by  the 
second  method  the  curved  effect  is  obtained  with  a  regular 
twill  weave  for  a  chain  draft  and  a  drawing-in  draft  so  arranged 
as  to  produce  the  desired  effect.  Fig.  43  shows  several 
repeats  of  a  curved  twill  constructed  in  accordance  with  the 
first  method.  This  weave  repeats  on  32  ends  and  8  picks 
and  is  composed  of  four  sections  of  8  ends  each;  the  first  sec¬ 
tion  is  the  regular  8-end  45°  twill  ^r;  the  second  section  is  a 
twill  having  an  angle  of  63°;  the  third  section  is  a  twill  with 
an  angle  of  72°;  and  the  fourth  section  is  like  the  second.  It 
will  be  noticed  that  each  end  of  the  weave  interlaces  in  the 
same  manner  as  some  one  of  the  first  8  ends;  therefore,  the 
weave  may  be  woven  with  8  harnesses  and  the  first  8  ends  as 
a  chain  draft  if  the  proper  drawing-in  draft  is  used;  this  shows 
that  the  second  method  of  constructing  curved  twills  is  really 
based  on  the  first. 

Fig.  44  (a)  shows  several  repeats  of  a  curved  twill  con¬ 
structed  by  the  second  method  with  the  chain  draft  shown  in 


§75  TWILL  WEAVES  AND  DERIVATIVES 


25 


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92—11 


1st  section  2d  section  3d  section  4th  section 


26 


TWILL  WEAVES  AND  DERIVATIVES  §75 


Fig.  44  ( b )  and  the  drawing-in  draft  Fig.  44  ( c ).  The  first 
end  of  the  effect  in  Fig.  44  (a)  is  like  the  first  end  of 
Fig.  44  (b);  the  second  end  is  like  the  fourth  end;  the  third, 


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Fig. 44 


like  the  seventh;  the  fourth,  like  the  tenth;  and  so  on,  each 
end  of  Fig.  44  (b)  being  taken  in  the  order  indicated  by  the 
drawing-in  draft  in  Fig.  44  (c). 


§75  TWILL  WEAVES  AND  DERIVATIVES 


27 


SKIP  TWILLS 

17.  Skip  twills  are  a  type  of  broken  twill  effects 
formed  by  a  skip  drawing-in  draft  and  a  regular  twill  weave 
as  a  chain  draft.  The  drawing-in  draft  is  made  so  that  the 
ends  are  drawn  in  straight  for  a  certain  number  of  harnesses; 
a  number  of  harnesses  are  then  missed;  and  afterwards  the 
ends  are  again  drawn  in  straight.  The  draft  is  so  con¬ 
structed  that  when  the  harnesses  are  skipped,  the  end  in  the 
harness  just  before  the  skip  will  rise  and  fall  exactly  oppo¬ 
site  to  the  next  end;  by  this  means 
a  broken  effect  is  formed  in  the 
cloth.  In  Fig.  45  (a)  is  shown  a 
skip  twill  that  is  made  with  the 
6-end  regular  twill  Fig.  45  (c) , 
as  a  chain  draft  and  the  skip  draw¬ 
ing-in  draft  shown  in  Fig.  45  (5). 

In  this  draft  the  first  3  ends  are 
drawn  straight;  then  2  harnesses 
are  skipped;  3  more  ends  are  then 
drawn  straight,  and  so  on  until  a 
repeat  is  found. 

In  this  weave  the  fourth  end 
rises  and  falls  exactly  opposite 
to  the  third  end.  This  is  accom¬ 
plished  by  means  of  drawing  the  fourth  end  through  the 
sixth  harness  instead  of  the  fourth,  as  would  be  done  with 
a  straight  draft.  The  seventh  end  rises  and  falls  exactly 
opposite  to  the  sixth,  the  tenth  end  opposes  the  ninth  in  the 
same  manner,  and  so  on  until  the  eighteenth  end  is  reached, 
which  rises  and  falls  exactly  opposite  to  the  first  end.  One 
end  rising  and  falling  in  opposition  to  another  in  this  man¬ 
ner  is  termed  cutting.  Skip  twills  are  best  constructed  from 
equally  flushed  twills. 


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(c) 

Fig. 45 


28 


TWILL  WEAVES  AND  DERIVATIVES  §75 


POINTED  TWITES 

18.  Another  class  of  twill  weaves  obtained  by  means  of 
the  harness  draft  includes  those  weaves  obtained  by  point 
drafts,  which  form  wave  effects  across 
the  cloth  known  as  pointed  twills. 
These  effects  are  also  frequently  spoken 
of  as  herring  bones ,  or  herring-bone 
stripes ,  because  the  radiating  twill  lines 
suggest  the  radiating  bones  of  a  fish’s 
backbone.  Suppose  that  it  is  desired 
to  make  a  pointed,  or  wave,  effect  with 
the  45°  twill  shown  in  Fig.  46  (a)  as 
the  chain  draft;  Fig.  46  (b)  shows  the 
harness  draft  that  will  be  used,  while 
Fig.  46  (e)  shows  the  effect  obtained  in 


(a) 

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□□■□□■ 

One  important  point  in  connection 
with  point  drafts  is  that  they  always  end 
on  the  second  harness  and  not  on  the 
first,  that  is,  assuming  that  the  draft 
begins  on  the  first  harness.  For  in¬ 
stance,  in  Fig.  46  (b),  the  ends  are  drawn  straight  for  the  first 
8  harnesses,  when  they  are 


(c) 

Fig. 46 


reversed,  commencing  with 
the  seventh  harness;  when 
the  harness  draft  reaches  the 
second  harness  after  being 
reversed,  one  repeat  of  the 
draft  is  obtained.  If  the  last 
end  of  the  draft  were  drawn 
through  the  first  harness,  the 
first  and  last  ends  of  each 
repeat  would  work  exactly 
alike,  which  would  give  in 
the  cloth  2  ends  side  by  side 
working  alike.  This  would  cause  a  serious  defect  in  the 
fabric.  If  the  weave  shown  in  Fig.  46  (e)  is  repeated  two  or 


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msnmm 

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mamm 

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□mmm 

□□□□□□ 

(a) 

■□□■□□□■ 

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W 

Fig.  47 


75  TWILL  WEAVES  AND  DERIVATIVES 


29 


three  times  in  both  ends  and  picks,  a  better  idea  of  the  waves 
formed  by  these  weaves  will  be  obtained. 

Many  good  effects  can  be  obtained  by  this  method  by 
changing  the  harness  draft  and  using  the  same  chain  draft. 
Thus,  instead  of  using  a  regular  point  draft  like  that  shown 
in  Fig.  46  ( b ),  a  draft  like  that  shown  in  Fig.  47  (a)  may  be 
used;  the  effect,  or  weave,  in  this  case,  will 
be  similar  to  that  shown  in  Fig.  47  (b) . 


19.  The  point  twills  thus  far  described 
will  make  waves  across,  or  widthwise  of, 
the  cloth.  The  same  effects,  however, 
may  be  made  to  extend  lengthwise  of  the 
cloth  by  simply  reversing  the  chain  draft 
in  the  same  manner  that  the  harness  draft 
was  reversed  when  making  waves  across 
the  cloth. 

Suppose  that  it  is  desired  to  make  a 
chain  draft  that  will  give  a  wave  running 
lengthwise  of  the  cloth  from  the  twill 
shown  in  Fig.  48  (<2).  It  is  simply  neces¬ 
sary  to  make  a  chain  draft  that  will  have 
the  first  12  picks  similar  to  Fig.  48  (a)  and 
the  remaining  picks  made  by  reversing 
these  first  12  picks;  that  is,  the  thirteenth 
pick  will  be  like  the  eleventh;  the  four¬ 
teenth,  like  the  tenth;  the  fifteenth,  like  the 
ninth;  the  sixteenth,  like  the  eighth;  the 
seventeenth,  like  the  seventh;  the  eighteenth,  like  the  sixth; 
the  nineteenth,  like  the  fifth;  the  twentieth,  like  the  fourth;  the 
twenty-first,  like  the  third;  and  the  twenty-second,  like  the 
second.  Here  the  chain  draft  will  stop,  in  order  to  avoid 
having  the  first  and  last  picks  alike,  on  the  same  principle 
that  the  harness  drafts  of  weaves  making  waves  across  the 
cloth  stop  on  the  second  harness.  Fig.  48  (b)  shows  the 
chain  draft  to  give  the  wave  lengthwise  of  the  cloth;  the  har¬ 
ness  draft  will  be  a  12-harness  straight  draft. 


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BBDD 

BDDB 

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(a) 

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BDDBBDDD 

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□DBDDBBD 

BDDBDDBB 

□DBD 

BDDB 

BBDD 

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□□■■□□ID 

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BDDD 

BBDD 

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BDDB 

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BBDD 

BDDBDDBB 

BBDDBDDH 

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IBDDDBBD 

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BDDB 

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W 

Fig.  48 


30 


TWILL  WEAVES  AND  DERIVATIVES  §75 


DIAMOND  WEAVES 

20.  By  reversing  both  the  harness  and  chain  drafts  of 
any  regular  twill,  another  class  of  weaves 
that  is  very  largely  used,  and  known  as 
diamond  weaves  from  the  effects  formed 
in  the  cloth,  will  result. 

Fig.  49  (a)  shows  a  regular  twill  from 
which  it  is  desired  to  construct  a  diamond 
weave.  First  build  the  chain  draft  by 
reversing  the  picks  exactly  as  when 
forming  waves  lengthwise  of  the  cloth. 
For  the  purpose  of  illustration,  however, 
the  picks  will  be  reversed  from  the  first 
pick,  instead  of  from  the  last  as  in  the 
previous  illustration.  It  should  be  under¬ 
stood  that  in  either  case  the  weave  will 
be  the  same.  Fig.  49  ( b )  shows  Fig.  49  (a) 
reversed  in  this  manner.  Fig.  49  ( b ) 
should  be  considered  as  the  chain  draft 
of  the  desired  weave,  while  the  drawing-in 
draft  will  be  a  regular  point  draft  made 
on  the  same  principle  as  the  drawing-in 
drafts  for  the  regular  weaves  that  were 
made  into  waves  extending 
across  the  cloth.  The  chain 
draft  occupies  12  harnesses 
and  consequently  the  draw¬ 
ing-in  draft  will  be  the 
12-harness  regular  point 
draft.  In  other  words,  the 
ends  will  be  drawn  in  the 
following  order:  1,  2,  3,  4, 
5,  6,  7,  8,9,  10,  11,  12,  11,  10, 
9,  8,  7,  6,  5,  4,  3,  2.  It  should 
be  noticed  that  in  this  case, 
(c)  as  well  as  in  weaves  form- 

Fig.  49  ing  wave  effects,  the  last 


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□  BBL  jBBG'IJ 

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§75  TWILL  WEAVES  AND  DERIVATIVES 


31 


pick  joins  perfectly  with  the  first;  also  the  last  end  with  the 
first.  In  order  to  show  the  effect  that  will  be  formed  in 
the  cloth  when  using  Fig.  49  ( b )  for  the  chain  draft  and  draw¬ 
ing  in  the  warp  ends  as  described,  the  weave  has  been 
worked  out  and  is  shown  in  Fig.  49  ( c ). 


DIAGONAL  WEAVES 

21.  Shaded  Diagonals. — Diagonal  weaves  may  be 
considered  as  a  type  of  twill  weaves,  the  term  being  gen¬ 
erally  confined  to  bold  twills  running  at  angles  greater  than 
45°,  although  often  regular  45°  twills  are  spoken  of  as 
diagonals;  regular  diagonals  are  generally  formed  by  com¬ 
bining  two  regular  45°  twills  in  their  picks  or  ends.  As  the 
formation  of  other  weaves  by  combining  twills  pick  and  pick 
or  end  and  end  has  been  fully  explained,  it  will  not  be  neces¬ 
sary  to  give  further  details  of  these  weaves,  but  simply  to 
state  that  all  the  examples  under  this  method  of  forming 
weaves  may  be  considered  as  diagonals. 

There  is,  however,  a  subdivision  known  as  shaded 
diagonals,  which  are  formed  on  a  twill  basis  by  taking  as 
the  base  of  the  twill  a  different  number  of  risers  and  sinkers 
in  the  different  sections,  grading  from  light  to  dark  or  from 
dark  to  light.  For  instance,  suppose  that  a  shaded  diagonal 
is  to  be  made  from  a  regular  45°  twill  that  is  complete  on 
42  ends  and  42  picks.  Divide  the  first  pick  of  the  weave  into 
six  sections  of  7  ends  each.  Then  beginning  with  the  first 
section  leave  only  1  end  down;  that  is,  this  part  would  be 
marked  S.  In  the  next  section  leave  2  ends  down,  making 
this  section  S.  Continuing  in  this  manner,  the  next  section 
will  be  -3-;  the  next  section,  Sr;  the  next  section,  S;  while 
the  last  section  will  be  marked  S;  therefore,  the  first,  pick  of 
this  weave  would  be  marked  SSSSSS.  It  is  next 
necessary  to  run  up  this  twill  in  the  regular  45°  manner  until 
it  is  complete;  that  is,  until  it  occupies  42  ends  and  42  picks. 
Fig.  50  (a)  shows  the  complete  weave. 

After  the  regular  twill  has  been  formed  it  is  necessary  to 
decide  what  angle  the  diagonal  shall  form.  If  it  is  to  be 


32  TWILL  WEAVES  AND  DERIVATIVES  §75 


a  63°  diagonal,  every  other  end  of  the  regular  twill  may  be 
taken.  If  it  is  to  form  an  angle  of  72°,  every  third  end  of 
the  regular  twill  will  be  taken,  and  so  on.  Suppose  that  in 


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this  case  it  is  desired  to  have  the  diagonal  form  an  angle 
of  72°.  Then  every  third  end  of  the  regular  twill  shown  in 
Fig.  50  (a)  will  be  taken.  As  3  can  divide  evenly  into  42, 


Fig. 


75  TWILL  WEAVES  AND  DERIVATIVES 


33 


the  number  of  ends  on  which  Fig.  50  ( a )  is  complete,  the 
diagonal  is  complete  on  42  ■—  3,  or  14,  ends.  Commencing 
then  with  the  first  end  in  Fig.  50  (a)  and  taking  every  third 


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end  of  the  weave,  Fig.  50  (b)  will  result.  Thus,  the  first  end 
of  Fig.  50  {b)  is  the  first  end  of  Fig.  50  (a);  the  second  end 
of  Fig.  50  (b)  is  the  fourth  end  of  Fig.  50  (a);  the  third 


34 


TWILL  WEAVES  AND  DERIVATIVES  §75 


end  of  Fig.  50  ( b )  is  the  seventh  end  of  Fig.  50  (a);  and  so 
on  until  every  third  end  of  the  regular  twill  has  been  taken. 
Fig.  50  ( b )  will  form  a  shaded  effect  in  the  cloth;  that  is, 
commencing  with  a  certain  part  of  the  weave  a  large  part 
of  the  warp  will  be  found  to  float  on  the  surface.  The 
weave  is  then  shaded  gradually  until  a  point  is  reached 
where  the  filling  will  be  found  to  predominate  largely  on 
the  surface. 

In  many  cases  these  diagonals  are  made  to  shade  in  both 
directions;  that  is,  the  warp  floats  will  be  found  gradually 
to  grow  less  until  the  filling  predominates,  when  the  weave 
will  again  be  shaded  until  the  warp  predominates,  instead  of 
breaking  off  suddenly  as  in  Fig.  50  {b). 

In  making  the  regular  twill  weave  for  the  base  of  a  shaded 
diagonal,  the  most  perfect  results  are  obtained  if  the  weave 
is  equally  flushed.  In  order  to  find  this  base,  the  following 
method  is  employed:  Mark  the  numbers  that  indicate  the 
number  of  warp  ends  to  be  lifted  over  the  first  pick,  begin¬ 
ning  with  1  and  running  up  as  high  as  desired,  repeating  the 
highest  number  and  then  grading  down  again  but  stopping 
with  2  instead  of  1;  thus,  1-2-3--4  4-3-2.  Then  put  1  to 
represent  one  end  down  between  the  two  highest  numbers 
and  grade  in  each  direction  until  the  highest  number  is 
reached  at  each  end;  thus,  This  method 

makes  a  perfect,  equally  flushed  weave,  since  the  same 
number  of  warp  ends  are  up  as  are  down,  and  also  where 
4  warp  ends  are  up  in  succession  1  end  is  down  between 
them,  and  where  4  warp  ends  are  down  in  succession  1  warp 
end  is  up  between  them.  Fig.  51  (a)  shows  the  regular 
twill  weave  formed  in  this  manner  with  the  base  given,  and 
Fig.  51  ( b )  shows  a  63°  diagonal  derived  by  taking  every 
other  end  in  proper  rotation. 

Shaded  diagonal  weaves  are  woven  with  a  warp  of  one 
solid  color  and  a  filling  of  another  solid  color  opposed  to 
that  of  the  warp,  as  for  instance,  a  black  warp  and  white 
filling,  or  vice  versa;  this  brings  out  the  shaded  effect  of 
the  weave. 


§75  TWILL  WEAVES  AND  DERIVATIVES 


35 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  regular  twill  weave  from  the  base  15-243^42B1. 

2.  From  the  weave  given  in  answer  to  question  1  construct  a 
72°  shaded  diagonal. 

3.  Extend  the  base  of  the  twill  given  in  question  1  and  from  the 
twill  formed  by  this  new  base  construct  a  63°  shaded  diagonal  that  will 
be  shaded  in  both  directions. 

4.  Make  an  original  diamond  weave. 


SATIN  AND  OTHER 
WEAVES 


SATINS 

1.  Satin,  or  sateen,  weaves  constitute  one  of  the  most 
valuable  classes  of  fundamental  weaves,  and  are  used  in 
almost  every  branch  of  weaving  and  with  yarns  of  every 
material.  They  are  used  in  woolen  cloths  to  produce  doe¬ 
skins ,  in  cotton  cloths  for  the  production  of  sateens  and 
satineltes,  and  in  silk  goods  for  satins.  One  of  the  largest 
uses  of  satin  weaves  is  in  the  production  of  linen  damasks, 
in  which  warp-flush  and  filling-flush  satins  are  combined  to 
produce  figured  table  cloths,  napkins,  etc.  They  are  also 
largely  used  as  ground  weaves  for  spotted  and  figured  cloths 
and  are  often  combined  to  form  check  and  stripe  effects 
in  various  fabrics. 

2.  Comparison  of  Twills  and  Satins. — Satin  weaves, 
in  a  certain  sense,  are  the  exact  opposite  of  twills,  since 
while  it  is  the  object  of  a  twill  weave  to  show  a  twill  line 
running  diagonally  across  the  cloth,  in  the  satin  weave  all 
twill  lines  are  avoided  as  far  as  possible,  although  in  some 
cases  a  slight  twill  effect  is  shown  in  a  cloth  woven  with  a 
satin  weave,  by  means  of  the  direction  of  the  twist  in  the 
warp  and  filling  yarns.  Another  of  the  principal  features  of 
a  twill  weave  is  the  supporting  of  one  end  by  another,  but  in 
a  satin  weave  this  is  carefully  avoided;  that  is,  in  a  satin 
weave  the  interlacing  of  each  end  is  at  least  1  pick  apart 
from  the  interlacing  of  either  of  the  ends  next  to  it.  In  a 
regular  satin  weave,  each  end  interlaces  with  the  filling  only 


For  notice  oi  copyright,  see  page  immediately  following  the  title  page 
276 


2 


SATIN  AND  OTHER  WEAVES 


§76 


once  in  one  repeat  of  the  weave.  Fig.  1,  which  shows  a 
5-end  warp-flush  twill,  and  Fig.  2,  which  shows  a  5-end 
warp-flush  satin,  illustrate  these  points.  Although  in  the 
twill  weave  only  one  interlacing  is  made  on  each  pick,  the 
ends  support  each  other,  since  on  the  first  pick  the  first  end 
is  down  and  on  each  succeeding  pick  the  next  end  is  down, 
thus  forming  a  twill  line.  With  the  satin  weave,  only  1  end 
is  down  on  each  pick,  it  being  in  this  respect  similar  to  the 
twill  weave,  but  the  interlacing  of  each 
end  is  at  least  1  pick  apart  from  the  inter¬ 
lacing  of  either  of  the  2  ends  next  to  it. 
Thus  on  the  first  pick,  the  first  end  is 
down;  on  the  next  pick,  the  fourth  end  is 
down;  on  the  third  pick,  the  second  end  is  down;  on  the 
fourth  pick,  the  fifth  end  is  down;  and  on  the  fifth  pick,  the 
third  end  is  down;  consequently,  the  points  of  interlacing 
do  not  run  up  in  regular  order,  as  is  the  case  in  a  regular 
twill  weave,  but  are  scattered  over  the  weave.  By  this 
means  the  interlacings  of  the  warp  and  filling  are  almost 
entirely  hidden,  while  the  cloth  produced  is  smooth  and  soft, 
this  being  the  object  of  the  weave. 


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Fig.  1 


Fig.  2 


3.  Base  for  Satin  Weaves. — The  order  in  which  the 
ends  are  raised  or  lowered  when  forming  a  satin  weave  is 
generally  indicated  by  a  series  of  figures,  in  which  each 
figure  represents  an  end,  while  its  position  in  the  series 
indicates  the  pick  on  which  it  is  moved.  Thus,  referring  to 
the  5-end  satin  in  Fig.  2,  the  ends  would  be  said  to  be  low¬ 
ered  in  1,4,  2,  5,  3  order:  1  being  the  first  number,  shows 
that  the  first  end  is  lowered  on  the  first  pick;  4  being  the 
second  number,  shows  that  the  fourth  end  is  lowered  on  the 
second  pick;  2  being  the  third  number,  shows  that  the  second 
end  is  lowered  on  the  third  pick;  5  being  the  fourth  number, 
shows  that  the  fifth  end  is  lowered  on  the  fourth  pick;  and  3 
being  the  fifth  number,  shows  that  the  third  end  is  lowered 
on  the  fifth  pick. 

Considering  the  order  of  moving  the  ends,  as  shown  in 
Fig.  2,  on  each  successive  pick,  the  third  end  (counting 


§76 


SATIN  AND  OTHER  WEAVES 


3 


from  left  to  right)  from  the  one  previously  lowered  is  down. 
Thus,  on  the  first  pick,  the  first  end  is  down;  on  the  second 
pick,  the  third  end  from  that,  or  the  fourth,  is  down;  on  the 
next  pick,  the  third  end  from  the  fourth,  or  the  second,  is 
down;  and  so  on  for  the  5  picks  that  complete  one  repeat 
of  the  weave.  This  is  known  as  moving  in  threes;  that  is, 
3  is  taken  as  a  base  for  constructing  the  weave.  When  deter¬ 
mining  the  base  on  which  to  construct  a  satin  weave,  any 
number  may  be  taken  that  is  neither  a  factor  of  the  whole 
number  of  ends  in  one  repeat  nor  a  multiple  of  any  such 
factor,  exclusive  of  the  number  1  and  the  number  that  is 
1  less  than  the  number  of  ends  on  which  the  satin  under  con¬ 
sideration  is  complete.  Thus,  in  the  case  of  the  5-end  satin, 
3  is  a  number  that  cannot  be  equally  divided  into  5,  the 
number  of  ends  in  the  repeat;  neither  can  any  number  that 
is  equally  divisible  into  5  be  equally  divided  into  3.  The 
number  2  could  also  be  taken  as  the  base  for  a  5-end  satin, 
in  which  case  the  ends  would  be  moved  in  the  following 
order:  1,  3,  5,  2,  4. 

4.  Warp-  and  Filling-Flusli  Satins. — Satin  weaves 
may  be  either  warp-flusli  or  filling-flush;  the  former  con¬ 
tains  more  warp  yarn  on  the  face,  while  the  latter  contains 
more  filling  on  the  face.  Warp  and  filling  satins,  as  shown 
on  design  paper,  may  be  readily  distinguished,  for  if  there 
are  more  filled-in  than  blank  squares,  as  in  Fig.  2,  the  warp 
will  predominate,  since  filled-in  squares  represent  the  warp 
ends  lifted,  and  the  weave  will  be  a  warp  satin.  In 
case  there  are  more  blank  than  filled-in  squares, 
as  in  Fig.  3,  the  weave  will  be  a  filling  satin,  since 
the  blanks  represent  filling  over  warp. 

When  a  satin  is  a  warp  satin,  the  ends  are  said  to 
be  lowered  in  a  certain  order,  while  with  a  filling  satin  the 
ends  are  said  to  be  raised  in  a  certain  order.  Thus,  for 
example,  in  speaking  of  the  weave  in  Fig.  2,  the  ends  are 
said  to  be  lowered  in  1,  4,  2,  5,  3  order,  while  the  ends  of 
the  filling  satin  shown  in  Fig.  3  a're  said  to  be  lifted  in 
1,  4,  2,  5,  3  order. 


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4 


SATIN  AND  OTHER  WEAVES 


§76 


Cloths  with  a  satin  weave  are  sometimes  woven  face  down, 
in  which  case  a  warp  satin  has  the  ends  raised  according 
to  the  base  of  the  satin,  while  a  filling  satin  has  the  ends 
lowered  according  to  the  base.  In  this  Course,  however,  cloth 
will  always  be  considered  as  woven  face  up  unless  a  definite 
statement  to  the  contrary  is  made. 

A  filling  satin  generally  contains  more  picks  per  inch  than 
ends,  so  that  the  ends  that  are  raised  over  the  picks  are 
nearly  covered,  thus  causing  the  cloth  to  have  a  very  soft  feel¬ 
ing.  A  similar  effect  is  produced  in  a  warp  satin,  which 
generally  contains  more  warp  ends  per  inch  than  picks,  thus 
causing  the  warp  ends  to  crowd  over  the  picks  that  are  raised. 

5.  Six-End  Satin. — The  smallest  number  of  ends  on 
which  a  regular  satin  can  be  constructed  is  5.  It  cannot  be 
constructed  on  6  ends,  although  in  many  cases  a  weave 
known  as  an  irregular  satin  is  made  on  6  ends,  the  order  of 
moving  the  harnesses  being  either  1,  3,  5,  2,  6,  4  or  1,  4,  2, 
6,  3,  5.  With  weaves  in  which  the  ends  are  raised  or  low¬ 
ered  in  either  of  these  orders,  no  two  adjacent  ends  are 
moved  on  successive  picks;  or  in  other  words,  no  two  ends 
support  each  other,  and  yet  the  same  number  of  ends  are  not 
skipped  between  successive  picks.  T ake,  for  example,  the  first 
order.  If  a  warp  satin  is  being  considered,  on  the  first  pick 
the  first  end  is  lowered;  on  the  second  pick  the  second  end 
from  the  one  previously  lowered,  counting  from  left  to  right, 
or  the  third,  is  lowered;  on  the  the  third  pick  the  second  end 
from  the  previous  one,  or  the  fifth,  is  lowered;  but  on  the 
next  pick  the  third  end  from  the  fifth,  or  the  second,  is  low¬ 
ered;  on  the  next  pick  the  fourth  end  from  the  second,  or  the 
sixth,  is  lowered;  while  on  the  last  the  fourth  end  from  the 
sixth,  or  the  fourth,  is  lowered.  Thus,  in  certain  parts  of 
the  weave  the  base  for  counting  off  the  ends  is  2;  in  others 
it  is  3;  while  in  still  others  it  is  4. 

6.  Construction  of  Satin  Weaves. — To  illustrate 
more  fully  the  method  of  obtaining  the  base  for  any  satin 
weave,  it  will  be  supposed  that  it  is  desired  to  make  a  regular 
satin  on  7  ends.  In  any  case  where  it  is  desired  to  construct 


§76 


SATIN  AND  OTHER  WEAVES 


5 


a  satin  weave  on  an  odd  number  of  ends,  2  can  always 
be  taken  as  the  base,  since  2  is  neither  a  factor  of  any  odd 
number  nor  a  multiple  of  any  factor  of  an  odd  number. 
Thus,  in  a  7-end  satin  the  ends  can  be  moved  in  1,  3,  5,  7,  2, 
4,  6  order,  in  which  case  the  order  of  moving  the  ends  is 
regular,  and  at  the  same  time  no  two  ends  support  each 
other;  consequently,  the  satin  will  be  regular.  Another 
order  of  moving  the  ends  in  a  7-end  satin  is  by  threes,  in 
which  case  the  following  results:  1,  4,  7,  3,  6,  2,  5;  that  is, 
on  the  first  pick  the  first  end  is  moved;  on  the  second  pick, 
the  fourth  end;  on  the  third  pick,  the  seventh  end;  on  the 
fourth  pick,  the  third  end;  on  thq  fifth  pick,  the  sixth  end; 
on  the  sixth  pick,  the  second  end;  and  on  the  seventh  pick,  the 
fifth  end.  Still  another  base  that  may  be  taken  for  a  7-end 
satin  is  5,  in  which  case  the  ends  are  moved  in  the  following 
order:  1,  6,  4,  2,  7,  5,  3.  Another  base  is  4,  in  which  case 
the  ends  are  moved  as  follows:  1,  5,  2,  6,  3,  7,  4. 

For  another  example,  suppose  that  it  is  desired  to  con¬ 
struct  a  satin  weave  on  9  ends.  It  is  first  necessary  to 
obtain  a  number  smaller  than  9  that  is  not  equally  divisible 
into  the  total  number  of  ends  and  that  cannot  be  divided 
equally  by  any  number  that  can  be  divided  into  9.  The 
number  5  answers  these  conditions,  and  if  taken  as  a  base 
for  moving  the  ends  will  give  the  following:  1,  6,  2,  7,  3,  8, 
4,  9,  5.  With  this  order,  the  first  end  is  moved  on  the  first 
pick;  on  the  second  pick,  the  sixth  end  is  moved;  on  the 
third  pick,  the  second;  on  the  fourth  pick,  the  seventh;  and 
so  on  until  all  the  ends  are  moved  once,  which 
gives  one  repeat  of  the  weave. 

Fig.  4  shows  a  7-end  filling  satin  constructed 
on  a  base  of  3.  On  the  first  pick,  the  first  end  is 
raised;  on  the  second  pick,  2  ends  are  missed  and 
the  fourth  end  raised;  on  the  next  pick,  2  ends 
again  are  missed  and  the  seventh  end  raised.  This  method 
of  skipping  is  continued  for  7  picks,  which  is  one  repeat  of 
the  weave.  When  the  last  end,  or  in  this  case  the  seventh, 
is  reached,  the  next  end  to  be  counted  is  the  first.  Thus, 
for  instance,  on  the  third  pick  of  this  weave  the  seventh  end 

\ 


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Fig.  4 


92—12 


6 


SATIN  AND  OTHER  WEAVES 


76 


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Fig.  5 


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Fig.  6 


is  raised.  Counting  from  this  end  to  see  which  end  will  be 
raised  on  the  next,  or  fourth,  pick,  the  first  end  is  considered 
as  1,  the  second  as  2,  and  the  third  end  from 
the  seventh  will  be  the  third  end  of  the  weave, 
which  will  be  the  end  to  be  raised  on  this  pick. 
This  is  due  to  the  fact  that  as  one  repeat  of 
the  weave  occupies  only  7  ends,  the  eighth 
end  of  the  weave  is  like  the  first,  the  ninth 
like  the  second,  and  so  on. 

Fig.  5  shows  an  8-end  filling  satin  constructed  on  a  base 
of  3;  that  is,  one  end  is  raised  on  one  pick  and  on  the  next 
pick  the  third  end  from  the  one  previously 
raised  is  lifted. 

Fig.  6  shows  a  9-end  filling  satin  weave 
constructed  on  a  base  of  4.  Thus,  on  the 
first  pick,  the  first  end  is  raised;  on  the 
second  pick,  the  fourth  end  from  this  one,  or 
the  fifth,  is  raised;  on  the  third  pick,  the 
fourth  end  from  the  fifth,  or  the  ninth,  is  raised;  on  the 
fourth  pick,  the  fourth  end  from  the  ninth,  or  the  fourth,  is 
raised.  This  is  continued  for  the  9  picks, 
which  completes  the  repeat. 

Fig.  7  shows  a  10-end  filling  satin  with  a 
base  of  3. 

Fig.  8  shows  a  9-end  warp  satin  weave 
constructed  on  a  base  of  4.  In  warp  satins 
all  the  ends  in  one  repeat  of  the  weave 
are  up  on  each  pick  with  the  exception 
of  one  pick.  Thus,  in  the  case  of  Fig.  8,  on  the  first 
pick  all  the  ends  are  raised  with  the  excep¬ 
tion  of  the  first  end;  on  the  second  pick, 
the  fourth  end  from  this  first  end,  or  the 
fifth,  is  lowered;  on  the  third  pick,  3  ends 
are  skipped  and  the  ninth  end  is  lowered; 
the  fourth  pick,  3  ends  are  skipped 


□□□□□□□■ 


□■□□□□□□ 

□□□□□□□□ 

□□□□□■□□ 

□□■□□□□□ 

□□□□□□□□ 

□□□□□□■□ 

■□□□□□□□ 


□□ 

□□ 


□□ 

□□ 

□□ 

□□ 

□□ 

□□ 


Fig.  7 


■■■■■□■a 

B 

a 

aaaa 

BBDB 

a 

aaaa 

a 

a 

aaac 

BBS 

m 

n 

aaaa 

r 

BBB 

a 

a 

on 


Fig.  8 


and  the  fourth  end  is  lowered.  This  is 
continued  for  the  9  picks  that  complete  one  repeat  of  the 


weave. 


76 


SATIN  AND  OTHER  WEAVES 


7 


Fig.  9  shows  a  10-end  warp  satin  weave  constructed  on  a 
base  of  3. 

7.  The  lifting  of  the  harnesses  in  a  filling  satin  weave  is 
given  in  the  order  that  the  ends  are  raised  on  each  successive 
pick.  Thus,  for  instance,  in  Fig.  5  the  har¬ 
nesses  are  raised  in  1,  4,  7,  2,  5,  8,  3,  6  order. 

This  indicates  that  on  the  first  pick,  the  first 
harness  is  raised;  on  the  second  pick,  the 
fourth  harness  is  raised;  on  the  third  pick, 
the  seventh  harness  is  raised;  on  the  fourth 
pick,  the  second  harness  is  raised;  on  the 
fifth  pick,  the  fifth  harness  is  raised;  on  the 
sixth  pick,  the  eighth  harness  is  raised;  on  the  seventh  pick, 
the  third  harness  is  raised;  on  the  eighth  pick,  the  sixth 
harness  is  raised. 


BHBBBBBD 

BB 

Bfl 

1  IB 

■■■■■□■■ 

BB 

BBQHIIB 

BB 

Bl  1 

BBBBBBDB 

BB 

BBBOBBBB 

BB 

□BBBBBBB 

BB 

Fig.  9 


5-End  Satins 
1,  4,  2,  5,  3 
1,  3,  5,  2,  4 


10-End  Satins 
1,  4,  7,  10,  3,  6,  9,  2,  5,  8 
1,  8,  5,  2,  9,  6,  3,  10,  7,  4 


6- End  Satins 
1,  3,  5,  2,  6,  4 

1,  4,  2,  6,  3,  5 

7- End  Satins 
1,  4,  7,  3,  6,  2,  5 
1,  3,  5,  7,  2,  4,  6 
1,  6,  4,  2,  7,  5,  3 
1,  5,  2,  6,  3,  7,  4 

8- End  Satins 

1,  4,  7,  2,  5,  8,  3,  6 
1,  6,  3,  8,  5,  2,  7,  4 

9- End  Satins 

1,  3,  5,  7,  9,  2,  4,  6,  8 
1,  8,  6,  4,  2,  9,  7,  5,  3 
1,  5,  9,  4,  8,  3,  7,  2,  6 
1,  6,  2,  7,  3,  8,  4,  9,  5 


11- End  Satins 

1,  3,  5,  7,  9,  11,  2,  4,  6,  8,  10 
1,  10,  8,  6,  4,  2,  11,  9,  7,  5,  3 

1,  4,  7,  10,  2,  5,  8,  11,  3,  6,  9 

1,  9,  6,  3,  11,  8,  5,  2,  10,  7,  4 

1,  5,  9,  2,  6,  10,  3,  7,  11,  4,  8 

1,  8,  4,  11,  7,  3,  10,  6,  2,  9,  5 

1,  6,  11,  5,  10,  4,  9,  3,  8,  2,  7 
1,  7,  2,  8,  3,  9,  4,  10,  5,  11,  6 

12- End  Satins 

1,  6,  11,  4,  9,  2,  7,  12,  5,  10,  3,  8 
1,  8,  3,  10,  5,  12,  7,  2,  9,  4,  11,  6 


Generally  a  chain  draft  for  a  satin  weave  is  made  like  the 
weave;  that  is,  in  most  cases  the  weave  is  also  the  chain 
draft,  and  when  this  is  the  case  the  ends  are  drawn  in 
straight,  or  in  other  words,  through  the  harnesses  in  con¬ 
secutive  order. 


8  SATIN  AND  OTHER  WEAVES  §76 

The  preceding  table  gives  the  different  orders  of  moving 
the  ends  in  satin  weaves  complete  on  12  ends  or  less. 

8.  Double  Satins. — Weaves  known  as  double  satins 
are  sometimes  constructed  from  regular  satins.  These  are 
made  by  adding  one  mark  to  each  mark  in  a  regular  satin; 
that  is,  in  case  the  satin  is  a  filling  satin,  each  end  will  be 
raised  an  extra  time  during  one  repeat  of  the  weave,  and  in 
case  the  satin  is  a  warp  satin,  each  end  will  be  lowered  an 
extra  time  during  one  repeat  of  the  weave.  These  marks 
may  be  placed  above,  below,  or  at  the  side  of  the  regular 
Double  satin  weaves  are  principally  used  when 
it  is  desired  to  increase  the  strength  of  the 
goods  and  yet  retain  the  satin  face. 

Fig.  10  illustrates  a  double  satin.  The 
crosses  represent  a  regular  8-end  satin  weave 
constructed  on  a  base  of  3,  giving  the  follow¬ 
ing  order  of  lifting  the  harnesses:  1,  4,  7,  2, 
5,  8,  3,  6.  In  order  to  convert  this  regular  satin 
weave  into  a  double  satin,  one  riser  is  placed  on  each  pick  in 
addition  to  the  riser  of  the  regular  satin  weave.  Thus,  on  the 
first  pick,  in  addition  to  the  first  end  being  raised  the  seventh 
end  is  also  raised.  In  all  double  satin  weaves  the  extra  risers 
must  be  placed  in  regular  order;  that  is,  on  the  second  pick  the 
extra  riser  must  be  placed  in  the  same  relative  position  to 
the  riser  of  the  regular  satin  on  that  pick  as  was  the  extra 
riser  on  the  first  pick  to  the  riser  of  the  regular  satin  weave 
on  that  pick.  Thus,  on  the  first  pick  of  the  weave  shown  in 
Fig.  10,  5  ends  are  skipped  after  marking  the  riser  for  the 
regular  satin,  and  the  seventh  end  marked  with  an  extra 
riser;  on  the  second  pick  the  fourth  end  is  marked  with  a 
riser  of  the  regular  satin,  5  ends  skipped,  and  the  second 
end  raised,  which  corresponds  to  the  method  of  marking 
the  extra  riser  on  the  first  pick  of  the  weave.  This  is 
continued  throughout  the  8  picks  that  complete  one  repeat 
of  the  weave. 

Fig.  11  is  another  illustration  of  a  double  satin  weave.  In 
this  case  the  extra  risers  are  placed  at  the  right  of  the  risers 


satin  marks. 


□□□■□ECO 

■□snnnna 

□□□□□■□E 

□□■□Bonn 

□□□□■□sn 

□■□EDDDD 

BroaaaBa 


Fig.  10 


SATIN  AND  OTHER  WEAVES 


9 


§  76 


□□SBD 

■□□□S 

□□□SB 

SBDDD 


Fig.  11 


□□□□□SBD 

■□□□□□□S 

□□□□SBDD 

□SBDDDna 

□□□□□□SB 

□□□SBDDD 


Fig. 12 


of  the  regular  satin  weave.  Thus,  on  the  first  pick  the  first 
end  is  raised  for  the  regular  satin  weave,  and  in  order  to 
make  a  double  satin  the  square  to  the  right  of  the 
one  containing  the  riser  of  the  regular  satin  weave 
is  marked,  or  in  other  words  the  second  end  is 
raised  with  the  first.  The  same  method  is  fol¬ 
lowed  with  each  pick  of  the  weave. 

Fig.  12  shows  an  8-end  double  satin.  The  crosses  show 
the  order  of  lifting  the  ends  for  a  regular  satin  weave,  while 
the  filled-in  squares  show  the  extra  ends  that 
are  raised  in  order  to  make  the  satin  double. 

Double  satins  are  sometimes  constructed  by 
dividing  the  base  that  would  be  used  for  a  reg¬ 
ular  satin  into  two  numbers  and  using  these 
numbers  alternately  for  marking  the  risers  of 
the  double  satin.  Fig.  13,  which  is  a  12-harness 
double  satin  constructed  on  this  principle,  illustrates  these 
weaves,  in  this  case  the  number  7,  which  could  be  used  for 
the  base  of  a  regular  satin  on  12  ends,  is  divided  into  the 
two  numbers  3  and  4  and  these  numbers  used  for  construct¬ 
ing  the  weave.  Considering  first  the  squares  that  are  marked 
with  crosses,  on  the  second  pick,  the  fourth  end  from  the 
end  raised  on  the  first  pick  is  raised;  on 
the  third  pick,  the  third  end  from  the  end 
raised  on  the  second  pick  is  raised;  on 
the  fourth  pick,  the  fourth  end  from  the 
end  raised  on  the  third  pick  is  raised;  on 
the  fifth  pick,  the  third  end  from  the  end 
raised  on  the  fourth  pick  is  raised.  This 
is  continued  for  the  12  picks,  when  it  is 
necessary  to  return  to  the  first  pick;  since 
on  the  twelfth  pick  the  fourth  end  from  the  end  raised  on 
the  eleventh  pick  is  raised,  on  the  first  pick  the  third  end 
from  the  end  raised  on  the  twelfth  pick  is  raised.  The  filled-in 
squares  show  the  risers  that  are  obtained  by  continuing  the 
process  through  the  ends  and  picks  the  second  time. 

Fig.  14  shows  a  weave  made  on  somewhat  the  same  prin¬ 
ciple  as  Fig.  13.  In  this  case,  however,  the  two  risers  are 


□□□□ 

□□□□ 

□□□s 

snnn 

□□□□ 

□□□□ 

□□□s 

scon 

□[*]□□□□□■ 

■□□□□□ISO 

□□□□□■□□ 

□■□□□□□a 

□□□□SDDD 

□□□□ 

□son 

□□□□ 

■□□□ 

□□□s 

□□□□ 

□□□□ 

Fig.  13 

10 


SATIN  AND  OTHER  WEAVES 


§76 


marked  on  1  pick  before  moving  to  the  next  pick.  Thus, 
on  the  first  pick  the  first  end  is  raised  and  also  the  third  end 
from  the  first.  Moving  to  the  second 
pick,  the  fourth  end  from  the  last  end 
raised  on  the  first  pick  is  raised,  which 
£Pves  a  riser  °n  the  eighth  end  for  the 
□□□□  second  pick.  In  addition  to  this  end  being 
□□□□  raised  on  the  second  pick,  the  third  end 
from  it  is  also  raised,  which  gives  a  riser 
on  the  eleventh  end.  Moving  to  the  third 
pick,  as  the  eleventh  end  was  the  last 
end  to  be  marked  on  the  second  pick,  the  third  end,  which  is 
the  fourth  end  from  the  eleventh,  will  be  raised  on  the  third 
pick.  In  addition  to  this  end  the  third  end  from  it,  or  the 
sixth,  is  also  raised  on  the  same  pick.  This  method  is  con¬ 
tinued  throughout  the  12  picks. 


□■□□□□□□ 

□□□□□□□□ 


□□□□□□■□ 

□□■□□□□□ 

■□□□□□□□ 

□□□□□□□■ 


Fig. 14 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  warp  satin  on  16  harnesses,  moving  in  fives. 

2.  Make  a  filling  satin  on  16  harnesses,  moving  in  sevens. 

3.  From  the  weave  formed  in  answer  to  question  2  construct  a 
double  satin  by  adding  one  riser  on  each  pick  of  the  satin  weave. 

4.  ( a )  What  is  the  smallest  number  of  harnesses  on  which  a  regu¬ 
lar  satin  weave  can  be  constructed?  (6)  Show  a  satin  weave  on  this 
number  of  harnesses. 


§76 


SATIN  AND  OTHER  WEAVES 


11 


DERIVATIVE  WEAVES 

9.  Satin  Derivatives. — Satin  weaves  provide  a  ready 
means  for  constructing  other  weaves,  or  derivatives,  as 
they  are  called.  In  almost  every  case  satin  derivatives  are 
formed  by  adding  one  or  more  extra  risers  to  the  risers  of  a 
regular  satin.  Fig.  15  shows  one  that  might  be  considered 


Fig.  15 


HHDBD0DH 

□□SOBBDD 

□□0DBBBD 

BDIEOBBBM 

□BBDDDD0 

□BBBDDD0 

□BSBDBDS 

■□□HD 

□□□□SDBB 

BDDD0DBB 

BDBD0DBB 

□scan 

□SDBBDDD 

□0DBBBDD 

□IEOBBBDB 

BBQDDDBD 

BBBOnCNED 

BBBDBDSO 

□□SDB 

□□□0DBBD 

□□□EDBBB 

□BD0DBBB 

0CMCD 

SaBBODDD 

0DBBBDDD 

0DBBBDBD 

Fig. 16 


Fig.  17 


Fig.  18 


a  double  satin,  and  yet  would  form  a  fine,  upright  twill  in  the 
weave.  In  the  figures  illustrating  satin  derivatives,  the 
crosses  show  the  method  of  raising  the  ends  for  the  regular 
satin,  while  the  filled-in  squares  show  the  risers  that  are  added 
in  order  to  form  the  derivatives.  Fig.  16  is  a  satin  deriva¬ 
tive  formed  by  adding  two  filled-in  squares  to  each  riser  in 
a  regular  8-end  filling  satin 
weave.  Fig.  17  is  one  formed 


0BDD 

□□□□ 

□□□B 

□□□El 

□BBD 

□0BD 

BDDD 

anna 

Bonn 

ama 

□SBa 

□BBD 

BnaUBBDD 

BaanaasB 

□SBnDDBB 

□BBDDaDD 

□□□(*«□□□ 

□□□BBDDD 

□□□□□BBQ 

SBnnDBBQ 

□□□0 

□□□B 

□□□□ 

0BDD 

BBQQ 

□□SB 

□□BB 

□□□□ 

Fig.  19 

BaanaaBB 

□BBQDBSB 

Bi^lBDCBB'D 

BBODDDDB 

□□BBQDB0 

□BSBQQBB 

□BBnazon 

□□□BBDQB 

□□B0BDDB 

□□Banana 

□□□□BBDD 

BQDBlElBnn 

BDOBBann 

□□□□□BBD 

BBDDBSBD 

SBDDBBQn 

□□B0BDDB 

□□BBDDm 

□□□□BBOD 

BDDBSBDa 

BnnBBaan 

□□□□□BBD 

BBQDBBBD 

SBaDBBDa 

BnannoBB 

□BBDDBSB 

B0BDQBBQ 

BBaannoB 

□□BBDDBB 

□BBBDDBB 

□BBnnaan 

□□□BBQQB 

Fig.  20 


by  adding  three  risers  to  each  riser  in  a  regular  8-end  satin. 
Fig.  18  is  one  formed  by  adding  four  risers  to  each  riser  of  a 
regular  8-end  satin  weave.  In  all  these  cases,  whenever  it 
is  necessary  to  extend  the  risers  beyond  the  last  end  of  the 


12 


SATIN  AND  OTHER  WEAVES 


§76 


weave  they  are  carried  to  the  first  end,  and  in  case  it  is 
necessary  to  extend  the  risers  beyond  the  bottom  pick  of  the 
weave  they  are  carried  to  the  top  pick,  or  vice  versa.  Fig.  19 
shows  a  derivative  weave  formed  by  adding  three  risers  to 
each  riser  of  a  regular  12-end  filling  satin.  Fig.  20  shows  a 
satin  derivative  formed  by  adding  six  risers  to  each  riser 
of  a  regular  16-end  filling  satin. 


GRANITE  WEAVES 

10.  In  a  granite  weave,  the  intersections  of  the  warp 
and  filling  are  disposed  throughout  the  weave  in  an  irregular 
manner  so  that  the  floats  of  warp  and  filling  will  produce  an 
indistinct  yet  regular  pattern  consisting  of  small  broken 
effects.  Granite  weaves  are  largely  used  in  almost  every 
class  of  fabric,  the  cloths  often  being  piece-dyed,  but  some¬ 
times  having  the  warp  of  one  color  and  the  filling  of  a  con¬ 
trasting  color,  thus  giving  the  cloth  a  speckled  appearance. 
They  are  made  largely  from  regular  satins  by  adding  one  or 
more  risers  to  the  risers  of  the  satin  weave;  Figs.  16,  17, 

and  18  are  good  examples 
■■  ot  granite  weaves  con- 
52  structed  in  this  manner. 
"5  These  weaves  may  also  be 
□2  obtained  by  rearranging  a 
5g  regular  twill  in  so-called 
satin  order;  that  is,  taking 
the  ends  of  the  twill  in  the 
order  followed  when  making  a  satin  weave.  For  example, 
if  the  ends  of  an  8-end  regular  twill  are  rearranged  in  satin 
order  on  a  base  of  3,  the  ends  are  taken  as  follows:  1,  4,  7,  2, 
5,  8,  3,  6;  that  is,  the  first  end  of  the  new  weave  will  be  like 
the  first  end  of  the  twill;  the  second  end  will  be  like  the  fourth 
end  of  the  twill;  the  third  end  will  be  like  the  seventh;  the 
fourth  end,  like  the  second;  the  fifth  end,  like  the  fifth;  the 
sixth  end,  like  the  eighth;  the  seventh  end,  like  the  third;  and 
the  eighth  end,  like  the  sixth.  In  other  cases,  granite  weaves 
are  constructed  from  regular  twills  by  taking  a  certain  number 


■■ 


■□□■□□■a 


□□ 

□□ 

■■ 


Fig.  21 


□□■□■□■a 

DBDBDDBD 


DBBDBDD 

DDBOBBDB 

dbddbdbd 

■BDBDBDD 

■DBDBBDB 

DBDDBDBB 

■  BOBDIZIBD 

■DBBDBDB 


Ftg  99 


§76 


SATIN  AND  OTHER  WEAVES 


13 


of  ends  of  the  twill  and  then  skipping  a  certain  number,  this 
being  continued  until  the  weave  repeats.  In  the  granite 
weave  shown  in  Fig.  22,  the  ends  of  the  regular  twill  shown 
in  Fig.  21  have  been  rearranged  by  taking  2,  skipping  4, 
and  so  on  until  the  weave  repeats. 


BASKET  WEAVES 

11.  Regular  Basket  Weaves. — Basket  weaves  are 
used  frequently  in  all  classes  of  woven  fabrics;  their  chief, 
feature  is  the  regular  occurrence  of  large  floats 
of  both  warp  and  filling.  The  first  type  of 
basket  weaves  consists  of  those  in  which  the 
squares  of  warp  and  filling  are  of  equal  size. 

These  baskets  are  simply  extensions  of  the 
plain  weave  both  warp  way  and  filling  way, 
and  it  is  always  possible  to  weave  them  on 
2  harnesses.  Fig.  23  is  a  basket  weave  of  this  type,  in 
which  each  square  marked  in  a  regular  plain  weave  has 

simply  been  extended  for  2  ends  and  2  picks,  thus 
making  each  mark  occupy  four  squares  instead  of 
■■*□□□  one.  Fig.  24  shows  another  basket  weave  of  this 
li|  _  type,  in  which  each  mark  of  the  plain  weave  has 

Fig.  24  been  extended  for  3  ends  and  3  picks;  thus,  instead 

of  occupying  only  one  square,  each  mark  occupies 
nine.  In  Fig.  25,  each  mark  is  extended  for  4  ends  and 
4  picks,  and  consequently  occupies  sixteen 
squares  instead  of  one. 

12.  Twill  Baskets.  —  A  second  type  of 
basket  weaves  consists  of  twill  baskets, 
which  are  generally  constructed  on  a  satin  base 
and  produce  much  neater  effects  than  the  basket 
weaves  just  described.  In  making  these  weaves 
from  a  satin  base,  first  mark  out  a  satin  weave  on  the  desired 
number  of  ends  and  picks;  then  fill  in  squares  around  each 
of  those  marked  off  for  the  satin  base,  in  such  a  manner 
that  these  groups  of  filled-in  squares  will  form  squares  that 
run  up  in  twill  order.  Fig.  26  shows  a  twill  basket  weave 


□□□□BBBB 

□□□□BBBB 

□□□□BBSS 

□□□□BflBB 

BBBBEDm 

BBBsnmn 

SBBBDDDD 

BSBBDDDD 


Fig.  25 


□DBBDnESB 

□□BBDDBS 

BBDDBBm 

BBonaann 

□□BBQQBB 

□□BBDDBB 

BBQDHHDD 

BBDDBBDD 


Fig.  23 


14 


SATIN  AND  OTHER  WEAVES 


§76 


constructed  in  this  manner  from  an  8-end  satin  weave  with  a 
base  of  5.  The  crosses  show  the  satin  weave,  while  the 
filled-in  squares  show  the  risers  that  are  added  in  order  to 
obtain  the  basket  weave.  In  making-  these  weaves,  care 
should  always  be  taken  to  have  the  filled-in  squares  around 
each  mark  of  the  satin  base  correspond  in  every  particular; 


■■□EBDDn 

□□□■■□SB 

□SHDOOBB 

□■■□&■□□ 

■□□□■■□S 

■□EBDOpB 

□□■■□®BQ 

•'B  ''-■■'- 


Fig. 26 


□□□SBDBB  □□ 
■□□□□□SB  □■ 


■□■■□□□□ 

□□SBQBBQ 

□□□□□SBQ 

□■■□□□□□ 

□BBOBBOT 

□□□□SBDB 

■■□□□□□S 

SBDBBDaa 


□B 

□□ 


□□ 

■  □ 
■  □ 

□□ 


Fig.  27 


□□□■ 

□□□■ 

□□□□ 

■EDO 

■■□□ 

□□BE 

□□■■ 

□□□□ 

□□□□ 

□□SB 

□□■■ 

EBDQ 

□EBnaaao 

□■■□□□SB 

■□□□□□■■ 

■□□□SBDQ 

□□□□■■□□ 

□□saanm 

□□■■□□□E 

&■□□□□□■ 

■■□□ 

□□□□ 

□□□E 

□□□■ 

□EBD 

□■■□ 

■□□□ 

■□□□ 

Fig.  28 


that  is,  if  on  the  first  mark  of  the  satin  weave  one  square  to 
the  right  and  two  below  are  filled  in,  as  in  Fig.  26,  in  the 
case  of  every  other  mark  of  the  satin  weave  the  correspond¬ 
ing  squares  must  be  filled  in.  Fig.  27  shows  a  twill  basket 
weave  constructed  from  a  10-end  satin  with  a  base  of  7. 
Fig.  28  shows  another  one  constructed  from  a  12-end  satin 
with  a  base  of  7. 


13.  Irregular 

weaves  consists  of 
of  warp  and  filling 


□□□■BBB 

□□□SBBB 

□□□■a 

□□□■BBB 

□□□■■ 

□□□ESIB 

■■■□□ 

■■■□□□□ 

■■■□□ 

■■Honm 

■■■□□ 

■BBoana 

Fig.  29 


Fig.  30 


by  extending  the 
3  picks  and  in  the 


Baskets. — A  third  type  of  basket 
irregular  baskets;  in  these  the  squares 
are  not  exactly  equal.  Thus,  in  Fig.  29, 
the  filled-in  squares  in  one 
portion  of  the  weave  occupy 
3  ends  and  3  picks,  whilefin 
another  portion  they  occupy 
but  2  ends  and  2  picks.  In 
Fig.  30,  the  weave  is  formed 
warp  floats  in  one  case  for  3  ends  and 
other  for  4  ends  and  4  picks. 


□□□■■■ 

□■□■□■ 

□□□BBB 

■■■□□□ 

■□■□■□ 

■■■□□□ 


Fig.  31 


14.  Fancy  Basket  Weaves. — A  fourth  type  of  baskets 
consists  of  fancy  basket  weaves.  In  Fig.  31,  the  squares 
of  filling  are  broken  in  the  center  by  a  float  of  warp,  while 
the  squares  of  warp  are  broken  by  a  float  of  filling.  Fig.  32 


§76 


SATIN  AND  OTHER  WEAVES 


15 


is  another  fancy  basket  weave  constructed  in  the  same  manner. 
Fig.  33  shows  a  fancy  basket  weave  constructed  by  separating 
warp  floats  of  4  ends  and  4  picks  each  by  3  ends  and  3  picks 
and  filling  in  these  intervening  ends  and  picks  with  a  suitable 


□□□□ 

□□□□ 

■■■■ 

■■■■ 

■■■■ 

■■■■ 

□□□a 

□□□□ 

□□BB 

□□BB 

■■■■■■□□ 

□□□□ 

BBBBBBDD 

□□□□ 

□□□□□□■■ 

BBBB 

□□□□□□■■ 

BBBB 

□□■■□□■a 

□□BB 

□□■■□□■a 

□□BB 

BBBB 

Fig.  32 


□□□□BOBO 

BBBB.  B  B 
□DDDBDBD 

BBBBDBDB 

BBBBDBDB 

rbbb.:b  b 

bdbddd 

□BGBBB 

bdbddd 

□BGBBB 

□BGBBB 

DBDBHH 

BBBB  B  B 

DDDDBDBD 

BBBBDBQB 

□DDDBDBD 

BBBBDBDB 

BBBBDBDB 

BBBBDBDB 

BBBBDBDB 

BBB  :B  ! 

□□□BOB 

BBBDBa 

□□□BOB 

BBBDBD 

BBBDBa 

IBBQBa 

BHBDBD 

Fig.  33 


weave.  Two  repeats  of  this  weave  in  both  ends  and  picks 
are  shown  in  this  figure.  Fig.  34  is  another  weave  made  in 
somewhat  the  same  manner.  In  this  case,  a  plain  basket 
weave  consisting  of  warp  and  filling  floats  of  4  ends  and 
4  picks  has  the  floats 
separated  by  2  ends  and 
2  picks,  which  are  filled 
in  with  a  suitable  weave. 

Two  repeats  of  the 
weave  in  both  ends  and 
picks  are  given. 


RIB  WEAVES 
15.  Warp  Ribs. 

Rib,  or  cord,  weaves 
are  simply  extensions  of 
the  plain  weave  in  either 
the  ends  or  picks  alone 
and  are  of  two  classes — 
warp  ribs  and  filling  ribs.  A  warp-ri  1)  weave  is  an  exten¬ 
sion  of  a  plain  weave  in  its  picks.  In  order  to  illustrate  the 
construction  of  these  weaves,  Fig.  35,  which  shows  a  warp- 
rib  weave,  has  been  divided  into  two  sections  (a)  and  (b). 
In  (a),  all  the  odd  numbered  ends  float  over  the  filling  for 


□□□□BDBB 

BBBflLBi  J.J 

DDDDBDBB 

□□□□BDBB 

□□□□BDBB 

□□□□BDBB 

BBBBDBDD 

□□□□BDBB 

BBDBDDDD 

DDBDBBBB 

BBDBDDDD 

BBDBDDm 

BBDBDDDD 

BBDBDDDD 

DDBDBBBB 

BBDBDDDD 

BDBBBBDfl 

DBDDDDBD 

BDBBBBDB 

BDBHBBDB 

BDBBBBDB 

BDBBBBDB 

DBDDDDBD 

BDBBBBDB 

HSHinBCID 
BBBBDBDD 
BBBB  .B 

BiBBDBDD 

□□□□BDBB 

BBBBDBDD 

□□□□BDBB 

□□□□BDBB 

DDBDBBBB 

DDBDBBBB 

DDBDBBBB 

DDBDBBBB 

BBDBDDDD 

DDBDBBBB 

BBDBDDDD 

BBDBDDDD 

DBDDDDBD 

DBDDDDBD 

DBDDDDBD 

DBDDDDBD 

BDBBBBDB 

DBDDDDBD 

BDBBBBDB 

BDBBBBDB 

□□□□BDBB 

□□□□BDBB 

BBBBDBDD 

□□□□BDBB 

BBBBDBDD 

BBBBDBDD 

BBBBDBDD 

BBBBDBDD 

BBDBDDDD 

BBDBDDDD 

DDBDBBBB 

BBDBDDDD 

DDBDBBBB 

DDBDBBBB 

DDBDBBBB 

DDBDBBBB 

BDBBBBDB 

BDBBBBDB 

DBDDDDBD 

BDBBBBDB 

DBDDDDBD 

DBDDDDBD 

DBDDDDBD 

DBDDDDBD 

Fig.  34 


16 


SATIN  AND  OTHER  WEAVES 


§76 


4  picks,  while  the  even-numbered  ends  are  down.  In  (b), 
the  reverse  is  the  case;  that  is,  the  even-numbered  ends  float 
over  the  filling-,  while  the  odd-numbered  ends  are  under  the 
filling.  With  this  class  of  weaves,  a  distinct  line  is  formed 
across  the  cloth  by  means  of  the  ends  covering  the  filling. 

Thus  in  Fig.  35  (a),  for  the  4  picks  in  which 
(b)  the  odd-numbered  ends  are  over  the  filling 
the  ends  will  have  a  tendency  to  crowd 
.  together,  especially  if  there  are  more  ends 

(fl) 

than  picks  per  inch  in  the  weave,  as  there 
should  always  be  in  a  warp-rib  weave;  that  is, 
the  first  and  third  ends  will  cover  the  4  picks 
of  filling  that  are  raised  over  the  second  end;  the  third  and 
fifth  ends  for  these  4  picks  will  cover  the  filling  that  is  raised 
over  the  fourth  end;  the  fifth  and  seventh  ends  will  cover 
the  filling  that  is  raised  over  the  sixth  end;  and  the  seventh 
and  first  ends  will  cover  the  filling  that  is  raised  over  the 
eighth  end.  For  the  next  4  picks  the  reverse  will  be  the 
case;  that  is,  in  (b)  the  second  and  fourth  ends  will  cover 
the  filling  that  is  raised  over  the  third  end;  the  fourth  and 
sixth  ends  will  cover  the  filling  that  is  raised  over  the  fifth 
end,  and  so  on.  Consequently,  in  these  8  picks  two  distinct 
lines  will  be  formed  across  the  cloth  because  of  different 
ends  covering  the  filling  in  these  two  sections.  This  weave 
repeats  on  2  ends  and  8  picks,  but  four  repeats  of  the  weave 
in  the  ends  are  shown  here  in  order  that  the 
construction  of  the  weave  may  be  understood 
more  clearly* 

1(>.  Filling-rib  weaves  are  the  exact 
opposites  of  warp-rib  weaves.  As  the  filling 
covers  the  ends  in  these  weaves,  ribs  are 
formed  lengthwise  of  the  cloth,  and  for  this 
reason  the  cloth  should  always  contain  more  picks  per 
inch  than  ends.  Fig.  36  is  an  illustration  of  a  filling-rib 
weave.  In  (a),  all  the  odd-numbered  picks  float  over  the 
4  ends,  while  all  the  even-numbered  picks  are  under  the 
ends.  In  this  case,  the  first  and  third  picks  will  crowd  over 


(a)  (b) 

Fig.  36 


Fig. 35 


§76 


SATIN  AND  OTHER  WEAVES 


17 


the  ends  that  are  up  on  the  second  pick  and  completely 
cover  them;  the  third  and  fifth  picks  will  cover  the  ends  that 
are  raised  on  the  fourth  pick;  the  fifth  and  seventh  picks  will 
cover  the  ends  that  are  raised  on  the  sixth  pick;  and  the 
seventh  and  first  picks  will  cover  the  ends  that  are  raised  on 
the  eighth  pick,  thus  showing  a  distinct  line  of  filling  floats 
lengthwise  of  the  cloth.  In  (b)  the  exact  reverse  is  the 
case;  that  is,  all  the  even-numbered  picks  are  raised  over 
the  ends,  while  the  ends  are  raised  on  the  odd-numbered 
picks.  By  this  means  the  second  and  fourth  picks  will  cover 
the  ends  that  are  raised  on  the  third  pick;  the  fourth  and 
sixth  picks  will  cover  the  ends  that  are  raised  on  the  fifth 
pick,  and  so  on,  thus  forming  another  rib  of  filling  floats 
lengthwise  of  the  cloth.  This  weave  is  complete  on  2  picks 
and  8  ends,  four  repeats  of  the  weave  in  its  picks  being 
shown  here. 

In  warp-rib  weaves  the  filling,  and  in  filling-rib  weaves  the 
warp,  is  usually  considerably  coarser  than  the  other  series  of 
yarn,  in  order  to  accentuate  the  ribbed  effect  in  the  cloth.  In 
cloths  woven  with  warp-rib  weaves,  there  should  be  more  ends 
than  picks,  and  with  filling-rib  weaves,  more  picks  than  ends 
per  inch. 

17.  Unequal  Rib  Weaves. — In  Figs.  35  and  36,  the  ribs 
formed  by  the  weaves  are  of  equal  size.  This  is  not  always 
the  case,  however,  for  unequal  rib  weaves  are  frequently 
used.  Fig.  37  is  an  illustration  of  a  weave 
of  this  kind.  In  the  lower  section,  the  odd- 
numbered  ends  float  for  5  picks,  while  in  the 
upper  section  the  even-numbered  ends  float  for 
only  3  picks.  In  this  case  there  are  two  ribs  of 
unequal  size  across,  one  rib  being  the  width  of 
5  picks,  while  the  other  is  the  width  of  3  picks. 

Unequal  filling-rib  weaves  are  formed  in  the  same  manner; 
that  is,  by  having  the  filling  float  over  an  unequal  number 
of  ends. 


Fig.  37 


18 


SATIN  AND  OTHER  WEAVES 


§76 


CORKSCREW  WEAVES 

18.  Corkscrew  weaves  may  be  considered  a  class  of 
rib  weaves;  but  while  in  rib  weaves  the  ribs  extend  in  a 
straight  line  either  across  the  cloth  or  lengthwise  of  it,  in 
corkscrew  weaves  the  ribs  from  a  twill  line,  and  for  this 
reason  are  sometimes  known  as  corkscrew  twills.  Although 
these  weaves  may  be  formed  on  any  number  of  ends  or  picks 
above  5,  the  best  effects  are  obtained  with  weaves  complete 
on  an  uneven  number  of  ends  and  picks.  One  method  of 
making  a  corkscrew  weave  that  will  be  found  as  simple  as 
any  is  as  follows:  Suppose  that  it  is  desired  to  form  a  cork¬ 
screw  weave  that  will  be  complete  on  7  ends  and  7  picks. 

Divide  7  into  two  numbers  one  of  which  will  be 
larger  than  the  other  by  1 — in  this  case  3  and 
4 — then  take  3  down  and  4  up  as  the  basis  on 
which  to  mark  each  end  in  the  corkscrew  weave. 
The  first  end,  as  shown  in  Fig.  38  (a),  will  be 
lowered  for  3  picks  and  raised  for  4  picks.  For 
the  second  end  of  the  weave,  begin  on  the  first 
pick  on  which  the  first  end  is  raised  and  mark  the 
second  end  4  up  and  3  down,  counting  down. 
For  the  third  end  of  the  weave,  commence  on 
the  first  pick  on  which  the  second  end  is  raised 
and  mark  4  up  and  3  down,  counting  down. 
Continue  in  this  manner  until  the  weave  is  com¬ 
plete.  Corkscrew  weaves  that  are  complete  on  an  odd 
number  of  picks  will  always  be  complete  on  the  same 
number  of  ends  as  picks.  Thus,  in  the  case  under  con¬ 
sideration,  since  the  weave  is  complete  on  7  picks  it  will 
also  be  complete  on  7  ends.  The  complete  weave  is  shown 
in  Fig.  38  (b).  This  weave  is  termed  a  waop  corkscrew ,  since 
the  warp  ends  cover  the  filling  and,  consequently,  nothing  but 
warp  shows  either  on  the  face  or  the  back  of  the  cloth.  In 
order  that  these  weaves  may  appear  to  best  advantage,  it  is 
necessary,  as  in  the  case  of  warp-rib  weaves,  to  have  more 
ends  than  picks  per  inch.  Any  warp  corkscrew  weave  when 
turned  quarter  way  around  will  give  a  filling  corkscrew  weave. 


■□□□□□□ 

■□□□□□□ 

■□□□□□□ 

■□□□□□□ 

□□□□□□□ 

□□□□□□□ 

□□□□□□□ 


(a) 


■□■□■□a 

□■□■□■a 

□BBUBrjB 


(b) 

Fig. 38 


76 


SATIN  AND  OTHER  WEAVES 


19 


Warp  corkscrews  made  on  an  even  number  of  ends  and 
picks  will  not  repeat  until  carried  out  for  twice  as  many 
ends  as  picks.  In  constructing  these  weaves  the  number 
that  represents  the  number  of  picks  on  which  the  weave  is 
complete  must  be  divided  into  two  numbers,  one  of  which 
will  be  larger  than  the  other  by  2.  Suppose,  for  an  example, 
that  it  is  desired  to  construct  a  corkscrew  weave  that  will  be 
complete  on  8  picks.  The  two  numbers  into  which  8  is 
divided  are  5  and  3.  Mark  the  first 
end  of  the  weave  3  down  and  5  rip, 
as  shown  in  Fig.  39  (a).  For  the 
second  end  of  the  weave,  commence 
on  the  first  pick  on  which  the  first 
end  is  raised  and  raise  the  second 
end  on  this  pick  and  also  on  all  the 
picks  on  which  the  first  end  is  low¬ 
ered.  The  second  end  will  therefore 
be  up  4  picks  and  down  4  picks, 
whereas  the  first  end  is  down  3  picks 
and  up  5  picks.  Marking  the  third 
end  in  the  same  manner  as  the  sec¬ 
ond,  this  end  will  be  up  for  1  pick,  down  3,  and  up  4  picks;  it 
will  thus  be  similar  to  the  first  end  with  regard  to  the  length 
of  the  floats.  The  complete  weave  is  shown  in  Fig.  39  (/;). 
Since  the  ribs  of  this  weave  are  formed  by  the  ends  that  are 
raised  crowding  over  the  filling,  two  ribs  will  be  formed 
diagonally  across  the  cloth,  one  of  which  will  be  the  width  of 

5  picks,  while  the  other 


□□□■■■■■ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

(a) 

■□■□■□■□ 

■□■□■□■■ 

■□■□■■□■ 

■□■■□■□■ 

■■□■□■□a 

□■□■□■■□ 

□■□■■□■□ 

□■■□■□■□ 

■■■■□□□■ 

□□□□■■■■ 

■■■■■□□□ 

■□□□□■■■ 

□■■■■■□□ 

■■□□□□■■ 

□□■■■■■□ 

■■■□□□□a 

(b) 

Fig. 39 


□□□■ 

□□□■■■ 

□□□■■■■ 

□□■■sin 

□■■■■□□ 


■□■□■■□■ 

■□■■□■□■ 

■■□■□■□a 

□■□■□■■□ 

□■□■■□■□ 

□■■□■□■□ 

■□■□■□■■ 


□■□■■□ 

□»■□■□ 

■□■□■□ 

£□■□■■ 

■□■■□■ 

■■□■□■ 

□■□■□■ 


Fig. 40 


Fig. 41 


will  be  the  width  of  only 
4  picks. 

19.  Corkscrew  weaves 
are  often  formed  from 
twills:  (1)  by  rearranging  the  ends  or  picks  of  a  regular  45° 
twill;  (2)  by  combining  two  twills  end  and  end  or  pick  and 
pick.  Considering  first  the  formation  of  corkscrew  weaves 
by  rearranging  the  ends  of  a  regular  45°  twill,  suppose 
that  it  is  desired  to  rearrange  the  ends  of  Fig.  40  in  satin 


20 


SATIN  AND  OTHER  WEAVES 


§  76 


order  on  a  base  of  4  to  form  a  corkscrew  weave.  This 
will  result  in  the  corkscrew  shown  in  Fig.  41,  which  gives 
two  repeats  of  the  weave  in  its  ends.  By  rearranging 
the  ends  of  a  weave  in  this  manner  warp  corksc7~ews  are 
formed,  while  by  rearranging  the  picks  filling  corkscrews 
are  formed.  Corkscrew  weaves  cannot  readily  be  formed 
by  rearranging  the  ends  of  every  45°  twill;  weaves  sim¬ 
ilar  to  that  shown  in  Fig.  40  are  most  suitable  for  this 
purpose. 

When  combining  twills  end  and  end  or  pick  and  pick  to 
form  a  corkscrew  weave,  care  should  be  taken  to  select  such 
weaves  as  will  give  the  desired  effect.  Figs.  42  and  43 


□□□■■■■■ 

□□■■■■■□ 

■■■□□□□□ 

■■□□□□□■ 

□□□□□■■■ 

■□■□■□□a 

bdbcobdb 

BCOBDBDB 

□BDBDBBD 

□BDBBDBD 

□BBDBDBD 

BOBDBDBD 

BBBBBCHZD 

□□□□□BBB 

□BBBBBdD 

■□□□□□■I 

□□BBBBBD 

BBDDDDDB 

□□□BBBBB 

BBBdDODD 

Fig. 42 


Fig. 43 


Fig.  44 


show  two  8-end  twills  that  it  is  desired  to  combine  end  and 
end  to  form  a  corkscrew  weave.  Fig.  44  shows  a  weave 
formed  in  this  manner;  the  first  end  of  Fig.  44  is  the  first 
end  of  Fig.  42;  the  second  end  of  Fig.  44  is  the  first  end  of 
Fig.  43;  the  third  end  of  Fig.  44  is  the  second  end  of  Fig.  42; 
the  fourth  end  of  Fig.  44  is  the  second  end  of  Fig.  43,  and 
so  on  for  the  16  ends.  By  combining  these  two  twills,  the 
ends  of  which  have  different  lengths  of  floats,  there  is 
formed  a  corkscrew  twill  that  will  have  ribs  of  unequal  size 
running  diagonally  across  the  cloth,  since  all  the  odd- 
numbered  ends  are  up  5  picks  and  down  3  picks,  while  the 
even-numbered  ends  are  up  3  picks 
and  down  5  picks. 


□□□□■□ 

□■□□□□ 


Fig.  45 


20.  Another  class  of  corkscrew 
weaves  includes  those  known  as  warp 
corkscrews  with  filling  effects.  These 
weaves  may  be  formed  by  taking  the  ends  of  any  filling- 
flush  twill  in  such  a  manner  as  to  form  ribs  in  a  twill  line 


i 


76 


SATIN  AND  OTHER  WEAVES 


21 


across  the  cloth  and  at  the  same  time  show  a  distinct  line 
of  filling-  floats.  Fig.  45  is  such  a  weave,  constructed  by- 
taking  the  ends  of  the  regular  45°  7-end  twill  in  1,  6,  2, 
7,  3,  1,  4,  2,  5,  3,  6,  4,  7,  5  order. 


HONEYCOMBS 

21.  Honeycomb  weaves  are  very  common  and  are 
extensively  used  in  making  towels.  When  coarse,  soft-twisted 
yarns  are  employed  they  make  a  spongy  cloth  well  suited  to 
this  purpose.  It  is  possible  to  make  honeycomb  weaves  on 
any  number  of  ends  from  4  upwards,  but  the  best  effects  are 
obtained  with  an  even  number  of  ends.  When  making  these 
weaves  the  first  thing  to  be  decided  on  is  the 
number  of  ends  to  be  used.  Suppose  that  it  is 
desired  to  make  a  honeycomb  weave  on  8  ends 
and  8  picks.  Raise  all  the  ends,  except  the 
first,  on  any  one  pick  of  the  weave,  preferably 
one  near  the  center  of  the  design,  as  shown  in 
Fig.  46  («),  in  which  the  fourth  pick  has  been 
selected  and  all  the  ends  raised  except  the 
first.  Next  form  a  warp  spot  by  marking  the 
risers  in  regular  45°  order  from  the  first  and 
last  ends,  as  shown  in  Fig.  46  (b).  After  the 
spot  has  been  formed,  run  a  line  of  risers 
around  it,  leaving  one  blank  space  between 
these  risers  and  those  forming  the  spot,  and 
confining  this  line  of  risers  to  8  ends  and 
8  picks.  On  the  pick  shown  in  (a),  which  is 
the  fourth  pick  in  (b) ,  no  riser  can  be  added  to 
those  in  the  spot  figure,  since  it  would  not  be 
possible  to  have  a  blank  space  between  them;  consequently, 
commencing  with  the  next,  or  fifth,  pick,  mark  the  first  end, 
which  will  leave  a  blank  space  between  it  and  the  first  end 
marked  in  the  spot  figure  on  this  pick.  Running  up  this  line 
in  a  regular  45°  manner,  it  stops  on  the  fourth  end  on  the 
eighth  pick.  Continuing  this  line  of  risers  completely 
around  the  spot,  Fig.  46  ( c )  is  obtained. 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□■■■■■■a 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


(«) 


□□□□□□□□ 

□DDDBDDD 

□□■■■■■□ 

□■■aSHBI 

□DBBBBBD 

□DDBBBDD 

□DDDBDDD 


( b ) 


□DDBDBDD 

□□BDBDBD 

□BDBBBDB 

BDBBBBBD 

□BBBBBBB 

BDBBBBBD 

□BDBBBDB 

□□BDBDBD 


(c) 

Fig.  46 


92—13 


22  SATIN  AND  OTHER  WEAVES  §76 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  twill  weave  with  the  base  ?3221i- 

2.  From  the  weave  given  in  answer  to  question  1  construct  a  weave 
by  taking  the  ends  in  satin  order,  moving  in  sevens. 

3.  Construct  a  15-end  twilled  basket. 

4.  Construct  a  rib  weave  that  will  make  uneven  ribs  across  the 
cloth. 

5.  Construct  a  rib  weave  that  will  make  even  ribs  lengthwise  of  the 
cloth. 

6.  Make  a  twill  weave  with  the  base  s-j,  and  from  this  twill  con¬ 
struct  a  warp  corkscrew  weave;  state  the  order  in  which  the  ends  of 
the  twill  are  taken  to  form  the  corkscrew. 


7.  Construct  a  honeycomb  weave  on  10  ends. 


COMBINATION  WEAVES 


INTRODUCTION 

1.  One  of  the  most  common  methods  of  producing  new 
or  novel  weave  effects  in  a  fabric  is  by  combining  two  or 
more  weaves  as  a  whole.  In  this  method  of  amalgamating 
weaves,  one  or  more  repeats  of  each  weave  are  joined 
together,  instead  of  combining  the  weaves  pick  and  pick  or 
end  and  end.  As  twill,  basket,  satin,  corkscrew  or  other 
weaves  produce  entirely  distinct  effects  in  a  fabric,  a  large 
field  is  opened  by  this  method  for  the  production  of  new 
effects. 

In  the  formation  of  combination  weaves  there  are  two 
important  points  that  should  be  taken  into  consideration. 
In  the  first  place,  the  yarns  with  which  the  cloth  is  to  be 
woven,  whether  woolen,  worsted,  silk,  or  cotton,  must  be  con¬ 
sidered.  If  the  yarn  is  woolen,  the  weaves  must  be  uniform 
in  structure,  as  woolen  yarn  is  so  constructed  that  it  is  not 
especially  adapted  for  developing  weave  effects,  the  surface 
of  the  yarn  being  too  rough  and  fibrous.  Simple  combina¬ 
tions  and  good  colorings  are  the  essential  points  in  woolens. 

In  worsted  or  cotton  fabrics,  a  large  diversity  of  fancy 
weaves  may  be  used,  since  the  yarns  are  comparatively 
smooth  (the  fibers  being  laid  in  parallel  order)  and  are 
thus  excellently  adapted  for  bringing  out  every  detail  of  the 
weave.  Silk  is  a  still  more  suitable  yarn  for  developing 
weave  effects. 

The  second  point,  to  which  it  is  especially  desired  to  call 
attention,  is  that  however  widely  the  weaves  that  are  to  be 


For  notice  of  copyright,  see  page  immediately  following  the  title  page 
\  77 


2 


COMBINATION  WEAVES 


§77 


combined  may  differ  in  respect  to  the  effects  that  they  pro¬ 
duce  in  the  cloth,  they  must  be  somewhat  similar  as  regards 
the  number  of  interlacings  of  the  warp  and  filling,  otherwise 
they  cannot  be  made  to  weave  together  evenly.  When 
desiring  to  form  new  effects  by  the  method  of  combining 
two  or  more  weaves,  this  latter  fact  should  constantly  be 
borne  in  mind,  as  it  is  absolutely  essential  to  the  satisfactory 
weaving  of  the  cloth. 

2.  Fig.  1  is  a  representation  of  a  sample  of  cloth  made 
by  combining  two  weaves  without  regarding  the  number  of 
interlacings  of  warp  and  filling.  The  ends  in  (a)  are  inter¬ 
laced  on  the  6-end-basket  principle,  while  those  in  ( b )  are 
working  plain,  so  that  the  ends  in  (a)  interlace  with  the  fill¬ 
ing  only  four  times  in  the  12  picks  shown  in  this  figure, 

while  the  ends  in  ( b ) 
interlace  twelve  times 
during  the  same  num¬ 
ber  of  picks.  The  re¬ 
sult  of  this  will  be  a 
tendency  to  prevent 
the  picks  of  ( b )  from  be¬ 
ing  as  closely  pressed 
against  one  another  as 
those  in  (a),  where  the 
intersections  are  not  so 
frequent.  In  ( b )  the 
warp  yarn  interlaces  at 
every  pick;  therefore, 
the  ends  lie  between 
one  pick  and  the  pick 
following,  separating 
these  by  a  distance  nominally  represented  by  the  diameter 
of  the  warp  yarn,  and  thereby  preventing  each  pick  from 
being  beaten  up  against  the  preceding  one.  In  (a),  there 
is  nothing  to  prevent  one  pick  from  being  beaten  up  against 
the  adjoining  one  in  those  places  where  the  picks  are  three  in  a 
shed,  supposing,  of  course,  that  this  weave  was  being  used 


Fig.  1 


77 


COMBINATION  WEAVES 


3 


alone  irrespective  of  the  weave  used  in  (/>);  but  between  the 
third  and  fourth,  sixth  and  seventh,  ninth  and  tenth,  and  also 
the  twelfth  and  first  picks,  the  warp  yarns  change  positions, 
and  those  lying  between  the  third  and  fourth  picks  prevent 
these  picks  from  being  beaten  up  against  each  other,  while 
the  same  is  true  in  each  of  the  other  cases. 

The  more  frequently  the  warp  and  filling  interlace  with 
each  other,  the  greater  difficulty  there  will  be  in  driving  each 
pick  of  filling  closely  against  the  preceding  one;  conse¬ 
quently,  if  the  picks  were  beaten  up  close  together  in  (a),  the 
warp  ends  in  ( b )  being  deflected  from  a  straight  line  to  a 
much  greater  extent  than  those  in  («),  would  take  up  faster 
and  consequently  work  tighter  during  weaving,  which  would 
soon  produce  a  cockled,  or  wrinkled,  appearance.  On  the  other 
hand,  the  more  open  the  weave,  the  closer  can  the  filling  be 
inserted;  for  instance,  as  3  ends  of  warp  are  depressed  or 
elevated  during  3  picks  in  succession  in  (<?),  this  portion  of 
the  cloth  admits  the  filling  much  more  freely.  For  these 
reasons,  closely  woven  and  loosely  woven  weaves  should 
rarely,  if  ever,  be  combined  if  the  warp  yarns  are  all  run  from 
the  same  beam,  as  they  can  be  made  to  weave  only  with  great 
difficulty.  There  are  some  instances,  however,  where  unlike 
weaves  may  be  combined  without  detriment  to  the  regularity 
of  the  fabric,  although  these  are  the  exception  rather  than 
the  rule. 

The  ends  and  picks  must  interlace  and  form  the  build,  or 
structure,  of  the  fabric  in  addition  to  producing  a  design. 
Therefore,  the  practicability  of  a  design  in  regard  to  its 
weaving  should  always  be  as  carefully  considered  as  the 
appearance  of  the  woven  cloth. 


4 


COMBINATION  WEAVES 


§77 


STRIPES  AND  CHECKS 


STRIPE  WEAVES 


COMBINATIONS  OF  WARP-  AND  FIEEING-FLUSH  WEAVES 

3.  Stripes  are  continuous  effects  running  lengthwise  of 
the  cloth,  or  in  the  direction  of  the  warp.  The  most  elementary 
form  of  a  stripe  obtained  by  a  combination  of  weaves  results 
from  combining  the  warp  prunelle  with  the  filling  prunelle. 
Fig.  2  is  a  stripe  design  complete  on  18  ends  resulting  from 
combining  these  two  weaves.  The  first  15  ends  are  made  by 
repeating  the  warp  prunelle  ~t  five  times,  while  the  last 
3  ends  are  the  filling  prunelle  Lw.  In  combining  weaves  in 
this  manner,  it  is  always  best  wherever  possible  to  make 
the  weaves  cut  where  they  oppose  each  other.  By  cutting 

is  meant  that,  where  the  weaves 


■■□■■□■a 

BDBBDBBD 

dbbdbb:  :b 


□BBDBBDB 

BlJBQ 
LjBBu 


IIUI 


I  I 


□□ 

BD 

□B 


Fig.  2 


join,  the  warp  floats  of  one  weave 
will  oppose,  or  come  against,  the 
filling  floats  of  the  other,  and  the 
filling  floats  oppose  the  warp  floats.  This  has  been  done 
in  Fig.  2.  Thus,  the  fifteenth  end  is  the  last  end  of  the 
warp  prunelle,  while  the  sixteenth  end  is  the  first  end  of 
the  filling  prunelle,  and  on  those  picks  on  which  the  fifteenth 
end  is  raised,  the  sixteenth  end  is  lowered,  while  on  those 
picks  on  which  the  fifteenth  end  is  lowered,  the  sixteenth  end 
is  raised.  But  there  is  another  joining  point  of  these  two 
weaves  besides  the  fifteenth  and'sixteenth  ends.  If  the  weave 
should  be  repeated  in  its  ends,  the  first  end  would  come  next 
to  the  last  end.  Therefore,  when  seeking  to  have  weaves 
cut  where  they  are  joined,  this  point  should  be  as  carefully 
considered  as  the  former.  Fig.  2  complies  with  these 
requirements,  since  on  those  picks  on  which  the  last  end  is 


77 


COMBINATION  WEAVES 


5 


raised,  the  first  end  is  lowered,  while  on  those  picks  on  which 
the  last  end  is  lowered,  the  first  end  is  raised. 

4.  All  weaves  should  run  up  in  regular  order  and  they 
should  not  be  made  irregular  for  the  purpose  of  making  the 
weaves  cut,  although  they  may  be  commenced  on  different 
ends  and  picks  to  attain  this  end.  When  weaves  are  com¬ 
bined  and  it  is  impossible  to  make  them  cut  perfectly,  always 
try  so  to  combine  the  weaves 
that  the  warp  and  filling  floats 
will  not  be  any  longer  in  the  com¬ 
bination  weave  than  they  were 
in  the  separate  weaves.  To  illus¬ 
trate  this  point,  suppose  that  it  (A  (6) 

is  desired  to  combine  the  two 

weaves  shown  in  Fig.  3  (a)  and  (b) .  In  the  first  case  they  will 
be  combined  just  as  they  are;  that  is,  by  copying  the  8  ends 
of  Fig.  3  (a)  for  the  first  8  ends  of  the  new  weave  and  copying 
the  8  ends  of  Fig.  3  ( b )  for  the  last  8  ends  of  the  new  weave. 
Fig.  4  ( a )  shows  the  weave  formed  by  combining  the  two 

weaves  by  this  method.  On  the 
third  pick  there  is  a  filling  float  of 
6  ends,  while  in  neither  of  the  weaves 
that  were  combined  was  there  a  fill¬ 
ing  float  of  more  than  4  ends;  also,  on 
the  seventh  pick,  6  ends  are  raised 
side  by  side,  while  in  neither  of  the 
weaves  combined  were  there  more 
than  4  ends  up  together  on  the  same 
pick. 

Fig.  4  (b)  shows  another  combina¬ 
tion  of  these  two  weaves,  but  in  this 
case  on  no  pick  does  the  filling  float 
over  a  greater  number  of  ends  than  it  did  in  either  of  the 
weaves  combined;  neither  are  more  ends  raised  together  on 
any  one  pick.  In  this  figure  the  first  8  ends  are  Fig.  3  (a), 
taken  just  as  they  are,  while  the  last  8  ends  are  Fig.  3  (b) ,  com¬ 
mencing  with  the  seventh  end  and  taking  the  ends  in  regular 


BBBBDDDD) 

BBDDDDBB 

DDBBBBDD 

BBBBDDDD 

DDDDBBBB 

DDBBBBDD 

BBDDDDBB 

DDDDBBBB 

DDBDBBDB 

DDBDBBDB 

BDBBDBDD 

BDBBDBDD 

BBDBDDBD 

BBDBDDBD 

DBDDBDBB 

DBDDBDBB; 

(a) 

□BDDBDBB 

DBDDBDBB 

DDBDBBDB 

DDBDBBDB 

BDBBDBDD 

BDBBDBDD 

BBDBDDBD 

BBDBDDBD 

DDDDBBBB 

DDBBBBDD 

BBDDDDBB 

DDDDBBBB 

BBBBDDDD 

BBDDDDBB 

DDBBBBDD 

BBBBDDDD 

( b ) 


Fig.  4 


□■□□■□■a 

DBDDBDBB 

DDBDBBDB 

DDBDBBDB 

KDBBDBDD 

BBDBDDBD 

BBDBDDBD 


DDBBBBDD 

BBBBDDDD 

□□□□BBflB 

DDBBBBDD 

BBDDDDBB 

□□□□BBBfl 

BBBBDDDD 

BBDDDDBB 


6 


COMBINATION  WEAVES 


77 


order;  that  is,  the  ninth  end  of  Fig.  4  ( b )  is  the  seventh  end 
of  Fig.  3  ( b)\  the  tenth  end  of  Fig.  4  ( b )  is  the  eighth  end  of 
Fig.  3  {b)\  the  eleventh  end  of  Fig.  4  {b)  is  the  first  end 
of  Fig.  3  (b);  the  twelfth  end  of  Fig.  4  (b)  is  the  second 
end  of  Fig.  3  (b),  and  so  on. 

It  is  not  always  possible  so  to  combine  two  weaves  that  they 
will  cut  perfectly,  nor  in  some  cases  so  that  there  will  not  be 
any  longer  floats  than  in  the  individual  weaves  themselves; 
but  the  best  manner  of  combining  them  should  always  be 
sought,  since,  if  combined  well,  the  resulting  weave  has  a 
much  better  effect  in  the  cloth.  A  description  of  the  formation 
of  a  few  of  these  weave  combinations  will  be  given  in  order 
to  enable  the  method  employed  to  be  thoroughly  understood. 

5.  One  method  of  combination  that  is  as  satisfactory  as 
any  for  certain  classes  of  weaves  is  to  combine  two  weaves, 
one  of  which  is  the  reverse  of  the  other  in  regard  to  the  warp 
and  filling  flushing.  These  weaves  can  always  be  made  to  cut 
where  they  are  joined.  Thus,  for  example,  suppose  that  two 

8-end  satin  weaves  are  to  be 
combined  on  this  basis.  Fig.  5 
(a)  shows  an  8-end  warp  satin 
moving  on  a  base  of  3,  while 
Fig.  5  (b)  shows  an  8-end  filling 
satin  moving  on  a  base  of  5. 
In  making  a  combination  weave 
from  warp  and  filling  satins,  in 
order  to  have  the  weaves  cut  it 
is  necessary  to  have  the  sum  of 
the  numbers  used  for  the  bases 
of  the  satins  equal  to  the  num¬ 
ber  of  ends  on  which  each  satin 
weave  is  complete.  Thus,  in  the  case  of  Fig.  5  (a)  and  (b) 
the  warp  satin  moves  on  a  base  of  3  while  the  filling  satin 
moves  on  a  base  of  5,  and  5  +  3  =  8,  which  is  the  number 
of  ends  on  which  each  satin  weave  is  complete. 

It  is  next  necessary  to  combine  these  two  weaves  in  such  a 
manner  that  they  will  cut,  and  since,  if  they  were  combined 


□□□□□□■□ 

□■□□□□□□ 

□□■□□□□□ 

□□□□□■□□ 

!□□□□□□□ 

(b) 


■■■■■□■■ 

Euan  nae 
E  ■«■■■» 
!■■■■■■□■! 

□IMM 


□□■□□□□□ 

□□□□□■□a 

■□□□□□□a 

□□□□□□■a 

□■□□□□□□ 


(c) 

Fig.  5 


§77 


COMBINATION  WEAVES 


( 


as  shown  in  Fig.  5  (a)  and  (b),  the  desired  result  would  not 
be  obtained,  it  will  be  necessary  to  start  one  of  the  weaves  on 
either  a  different  end  or  a  different  pick.  By  copying  Fig.  5  ( a ) 
just  as  it  is  for  the  new  weave,  and  starting  Fig.  5  (b)  on  the 
second  end,  the  weaves  will  be  made  to  cut.  Fig.  5  ( c )  shows 
these  two  weaves  combined  in  this  manner.  Dealing  with  the 
second  section  of  Fig.  5  (c)  alone,  the  ninth  end  is  the  second 
end  of  Fig.  5  (b);  the  tenth  end,  the  third  end  of  Fig.  5  (/>); 
the  eleventh  end,  the  fourth  end  of  Fig.  5  ( /; ) ;  and  so  on. 

6.  Another  good  method  of  forming  combination  weaves 
with  warp-  and  filling-flush  weaves  is  to  combine  two  twill 
weaves  in  one  of  which  the  warp  flushes  to  an  extent  equal 
to  the  filling  flushes  of  the  other  weave.  Fig.  6  (a)  and  (b) 
are  two  such  twill  weaves,  and  by  combining  them  as  shown 
in  Fig.  6  (c) ,  they  form  a  weave  that  cuts  perfectly  where 
the  two  weaves  are  joined.  In  Fig.  6  (c),  both  of  the  weaves 
that  are  combined  have  been  repeated  in  both  ends  and  picks. 


□□□□■ 

□□□■□ 

□■□□□ 

~DDDD 


□l 


(□I 


ID 


(a) 


(6) 


(c) 

Fig.  6 


IDI 


□I 


□□□■ 

■□□□ 


(a) 


(*) 


■■□■□□□a 

■■■■ 

BDBBDDBD 

□■■■ 

□BBiDiDD 

BBBDBDDD 

□□■■■□■a 

l  C) 

dbdbbbbd 

■■■■ 

□BBBDBDD 

BBBDBDDD 

BBDBDDDB 

BDBBDDBD 

(cl) 

Fig.  7 


In  these  figures,  the  twill  in  one  figure  runs  in  a  direction 
opposite  to  the  twill  in  the  other;  that  is,  the  twill  in 
Fig.  6  (a)  runs  to  the  right,  while  that  in  Fig.  6  {b)  runs  to 
the  left.  If  it  is  desired  to  combine  warp-  and  filling-flush 
twills  in  which  the  twill  lines  run  in  the  same  direction,  it 
will  be  found  necessary  either  to  continue  the  weaves  as  a 
whole  or  else  to  continue  one  of  the  weaves  for  a  portion  of 
a  repeat,  in  order  to  make  them  cut.  For  instance,  suppose 


8 


COMBINATION  WEAVES 


§77 


that  it  is  desired  to  combine  Fig.  7  (a)  with  Fig.  7  ( b )  so 
that  the  width  of  each  section  of  the  stripe  will  be  equal;  that 
is,  so  that  each  will  contain  one  repeat  of  the  weave,  or 
4  ends  in  this  instance.  If  this  weave  is  made  as  shown  in 
Fig.  7  (c) ,  a  perfect  cut  is  not  obtained  between  the  eighth 
and  first  ends,  but  if  it  is  continued  as  shown  at  Fig.  7  ( d ), 
the  last,  or  sixteenth,  end  will  cut  perfectly  with  the  first, 
and  perfect  cuts  will  also  be  made  at  all  the  other  places 
where  the  warp-flush  weave  joins  the  filling-flush  weave,  or 
vice  versa.  In  each  section  of  Fig.  7  {d) ,  the  weaves  shown 
in  Fig.  7  (a)  and  (b)  are  used,  but  the  sections  that  have 
been  repeated  are  started  on  different  ends,  so  as  to  make 
perfect  cutting  possible. 

Another  method  of  obtaining  a  perfect  cut  in  a  case  like 
this  is  to  continue  one  section  for  a  number  of  ends  sufficient 
to  make  a  perfect  cut;  thus,  2  extra  ends  are  added  to  the  filling- 
flush  weave  in  Fig.  8,  or,  in  other  words,  a  repeat  and  a  half 
of  this  weave  is  used,  which  makes  the  last  end  of  the  weave 

work  exactly  opposite  to  the 
□□  first,  thus  insuring  a  perfect 

_ 12  cut.  This  method  makes 

Fig-  9  one  stripe,  in  this  case  the 
filling-flush  stripe,  wider  than  the  other.  If  even  stripes  are 
desired  and  the  method  employed  in  Fig.  7  (d)  cannot  be 
used,  perfect  cuts  can  be  made  by  adding  1  end  to  both  the 
warp-  and  the  filling-flush  section  of  the  weave,  as  shown 
in  Fig.  9.  In  this  case  a  perfect  effect  in  the  cloth  will  be 
obtained,  although  even  repeats  of  each  weave  will  not  be 
shown,  each  section  having  1  end  in  excess  of  a  repeat. 


□□ 

□□ 

□  B 
ED 


Fig.  8 


COMBINATIONS  OF  EQUABLY  FLUSH  WEAVES 

7.  Very  frequently  stripe  weaves  are  formed  by  using  an 
equally  flush  twill  as  a  chain  draft  and  arranging  the  draw¬ 
ing-in  draft  so  as  to  produce  the  required  stripe  effect. 
Fig.  10  (a)  shows  a  stripe  weave  made  in  this  manner,  in 
which  the  first  4  ends  are  the  cassimere  twill  -S-;  the  next 
2  ends  nave  the  same  interlacings  as  the  second  end;  the 


77 


COMBINATION  WEAVES 


9 


next  2  ends  have  the  same  interlacings  as  the  fourth  end; 
the  next  8  ends  are  the  regular  twill  commencing  with  the 
second  end;  the  next  2  ends  have  the  same  interlacings  as 
the  third  end;  the  next  2  ends  have  the  same  interlacings 
as  the  first  end;  w'hile  the  last  2  ends  are  the  cassimere  twill 
commencing  with  the  third 
end  and  running  in  regular 
order.  It  will  be  noticed  that 
the  last  2  ends  are  a  continu¬ 
ation  of  the  first  4  ends;  that 
is,  the  last  end  does  not  cut 
with  the  first  end  but  con¬ 
tinues  the  weave  regularly. 

In  all  other  places  where  this  weave  changes,  the  ends  cut. 
By  this  means  a  perfect  stripe  is  obtained  that  is  the  same  as 
though  the  basket  were  combined  with  the  cassimere  twill, 
yet  the  stripe  may  be  obtained  by  using  the  cassimere  twill 
as  the  chain  draft  and  drawing  the  warp  ends  through  the 
harnesses,  as  indicated  by  the  drawing-in  draft  shown  in 
Fig.  10  ( b ). 

Fig.  11  (a)  is  another  stripe  weave  formed  in  a  similar 
manner  from  the  equally  flush  twill  The  first  18  ends  of 
this  stripe  design  are  formed  by  running  the  regular  twill 


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Fig.  11 

in  regular  order;  the  next  2  ends  are  the  same  as  the  third 
and  fourth  ends  of  the  twill;  the  next  2  ends  are  similar  to 
the  first  and  second;  and  the  next  2  ends  are  similar  to  the 


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Fig. 10 


10 


COMBINATION  WEAVES 


77 


fifth  and  sixth.  The  next  6  ends  are  the  regular  -3-  twill 
with  the  twill  running  in  the  opposite  direction,  and  com¬ 
mencing  with  the  third  end.  The  next  2  ends  are  the  same 
as  the  first  and  second  ends;  the  next  2  ends  are  similar  to 
the  fifth  and  sixth;  while  the  last  2  ends  are  similar  to  the 
third  and  fourth.  In  this  case,  as  in  the  previous  one,  each 
end  in  Fig.  11  (a)  is  a  certain  end  of  the  regular  twill, 
and,  consequently,  it  is  possible  to  weave  this  design  on 
6  harnesses.  The  harness  draft  for  Fig.  11  (a)  on  6  har¬ 
nesses  is  shown  in  Fig.  11  (b) . 

8.  Another  method  of  forming  stripe  weaves,  and  one 
that  is  quite  generally  adopted,  is  that  of  running  a  regular 
equally  flush  twill  up  for  a  certain  number  of  ends  and  then 
reversing  the  weave,  but  commencing  with  an  end  that  will 

cause  the  weave  to  cut  where  it  is 
reversed.  This  effect  may  be  ob¬ 
tained  by  using  a  regular  equally 
flush  twill  weave  as  a  chain  draft 
with  an  angled  drawing-in  draft. 

Fig.  12  (a)  shows  a  weave  of  this 
class,  while  Fig.  12  (b)  gives  the  har¬ 
ness  draft,  which,  it  will  be  noticed, 
is  an  angled  draft.  In  Fig.  12  (a), 
the  weave  is  repeated  in  its  picks, 
since  16  picks  are  shown,  although 
the  weave  is  really  complete  on  16 
ends  and  8  picks.  At  the  ninth  end 
it  is  reversed,  and  this  end  is  the 
same  as  the  fourth  end;  the  weave 
also  cuts  at  this  point,  as  the  warp 
and  filling  floats  of  the  eighth  end 
oppose  the  warp  and  filling  floats  of  the  ninth  end.  The  warp 
and  filling  floats  of  the  first  end  also  oppose  the  warp  and 
filling  floats  of  the  last  end,  thus  causing  the  weave  to  cut  at 
this  point,  since  these  2  ends  come  together  in  the  cloth. 

The  width  of  either  section  of  the  stripe  can  readily  be 
changed  by  repeating  that  section  of  the  drawing-in  draft. 


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Fig. 12 


§77 


COMBINATION  WEAVES 


11 


Thus,  if  the  first  8  ends  of  the  drawing-in  draft  were 
repeated  four  times  and  the  last  8  ends  were  not  repeated, 
the  first  section  would  be  complete  on  32  ends  and  the  last 
section  on  8  ends,  the  whole  weave  being  complete  on 
40  ends,  although  it  would  require  only  the  same  number  of 
harnesses  to  weave  it,  namely  8  harnesses.  By  changing  the 
drawing-in  draft  in  this  manner,  a  large  number  of  different 
weaves  can  readily  be  formed,  and  by  changing  the  twills 
in  the  weave,  a  still  greater  variety  can  easily  be  obtained. 


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Fig.  13 


SINGLE-END  STRIPES 

9.  Another  class  of  stripe  designs  that  is  met  with  quite 
frequently  includes  weaves  known  as  single-end  stripes. 
These  weaves  are  generally  formed  by  opposing  a  warp- 
flush  weave  with  a  single  end  of  a  filling-flush  weave,  or  vice 
versa,  having  the  ends  cut  where 
the  two  weaves  oppose  each  other; 
the  effect  of  this  is  to  form  a  cut 
mark ,  or  fine  indented  line,  which 
is  generally  arranged  to  run  warp 
way  of  the  cloth.  Fig.  13  illustrates  one  of  these  weaves;  the 
first  end  is  an  end  of  a  filling-flush  weave;  the  next  6  ends  are 
the  regular  warp-flush  twill;  the  next  end  is  a  filling-flush 
end;  the  next  6  are  the  twill;  the  next  end  is  a  filling- 
flush  end;  and  the  last  3  are  the  twill. 

Where  the  weaves  are  combined  they  cut  on  both  sides  of 
the  single  end,  and  in  order  to  accomplish  this  it  is  necessary 
to  have  the  end  on  one  side  of  the  single  end  of  the  filling 
flush  exactly  like  the  end  on  the  other  side.  Thus,  the  seventh 
and  ninth  ends  of  the  weave  illustrated  are  the  same,  also  the 
fourteenth  and  sixteenth,  and  also  the  second  and  eighteenth. 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  stripe  design  on  12  ends  by  reversing  the  6-end  twill  -5; 
have  the  weaves  cut  where  they  reverse. 

2.  Make  a  single-end  stripe  design  on  20  ends,  using  the  4-end 
twill 


12  COMBINATION  WEAVES  §77 

3.  Make  a  stripe  design  on  14  harnesses,  using  warp-  and  filling- 
flush  satins;  have  the  weaves  cut  where  combined. 

4.  Make  a  stripe  design  on  20  ends,  using  the  5-end  warp  and 
filling  satins  repeated  in  the  ends. 

5.  Give  a  harness  draft  complete  on  24  ends  that  will  give  a  stripe 
effect  in  the  cloth  when  using  the  ^  twill  for  a  chain  draft. 


CHECK-WEAVES 


COMBINATIONS  OF  EQUALLY  FLUSH  WEAVES 

10.  Clieck-weaves  may  be  made  in  a  variety  of  ways, 
many  of  these  weaves  having  a  twill  or  satin  base.  In  many 
cases  the  figure  on  one  part  of ‘the  check  will  be  found  to  be 
produced  by  the  warp,  while  the  figure  on  the  other  part  will 
be  produced  by  the  filling.  Check-weaves  to  a  certain 
extent  may  be  considered  as  simply  extensions  of  stripe 
weaves.  It  has  been  explained  how  a  stripe  may  be  formed 
in  the  cloth  by  opposing  one  weave  with  another;  if,  after 
this  is  done,  the  weave  should  be  extended  in  its  picks, 
taking  pains  to  have  the  picks  oppose  one  another  in  the 
same  way  as  the  ends  were  opposed  in  the  stripe  weave, 
the  resulting  figure  will  form  a  check  in  the  cloth. 

11.  Suppose,  for  example,  that  it  is  desired  to  make  a 
check-weave  with  the  regular  equally  flushed  weave  shown 
in  Fig.  14  (a)  as  a  base.  First,  it  is  necessary  to  form  a 
stripe  design  from  the  regular  twill.  Fig.  14  ( b )  shows  the 
stripe  design  formed  from  the  regular  twill  shown  in 
Fig.  14  (a).  The  formation  of  this  weave  agrees  with  the 
descriptions  given,  and  the  harness  draft  for  it  will  be  an 
angled  draft.  Next  consider  the  stripe  as  two  separate 
sections,  that  is,  the  first  6  ends  will  be  one  section  and 
the  last  6  ends  will  be  another,  after  which  extend  each 
section  in  its  picks,  taking  care  to  have  the  weaves  cut  in  the 
picks  the  same  as  in  the  ends  when  forming  the  stripe'.  In 
other  words,  extend  each  section  as  if  it  were  to  form  a 
stripe  across  the  cloth  instead  of  lengthwise.  Fig.  14  ( c ) 


§77 


COMBINATION  WEAVES 


13 


shows  the  first  6  ends  extended  in  this  manner,  while 
Fig.  14  (d)  shows  the  last  6  ends  extended.  The  weaves 
cut  perfectly  in  their  picks,  since  in  both  weaves  the  sixth 
pick  opposes  the  seventh,  and  the  first  and  last  picks  oppose 
each  other.  In  actual  practice  the  picks  in  each  of  the  two 
sections  of  the  weave,  as  shown  in  Fig.  14  {b) ,  would  be  run 
up  without  separating  the  weaves;  they  have  been  separated 
here  simply  to  make  the  process  clearer.  Therefore,  the 
complete  check-weave  will 
be  the  weave  shown  in 
Fig.  14  (e) ,  which  is  Fig.  14 
(r)  and  ( d )  brought  together. 

An  important  point  that 
should  be  noted  in  connection 
with  this  check  is  that  the 
weave  cuts  all  around;  that 
is,  the  sixth  pick  opposes  the 
seventh  pick;  the  sixth  end 
opposes  the  seventh  end;  and, 
further,  the  first  and  last 
picks,  and  also  the.  first  and 
last  ends,  oppose  each  other. 

This  feature  should  be  pres¬ 
ent  in  check-weaves  formed 
in  this  manner. 

The  same  harness  draft 
that  would  be  used  in  connec¬ 
tion  with  the  weave  shown  in 
Fig.  14  ( b )  would  also  be 
used  for  the  weave  shown  in 
Fig.  14  (e) .  Therefore,  in  actual  practice,  when  it  is 
desired  to  change  a  stripe  weave  to  a  check,  all  that  is 
necessary  is  simply  to  alter  the  chain  draft  to  give  the 
desired  effect.  With  stripes  formed  on  this  principle,  the 
size  of  the  stripe  can  be  enlarged  to  any  desired  extent  by 
simply  altering  the  drawing-in  draft.  The  same  rule  holds 
good  when  dealing  with  checks  formed  in  this  manner,  with 
the  exception  that  in  the  latter  case  the  chain  draft  must  also 


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14 


COMBINATION  WEAVES 


§77 


be  altered,  that  is,  the  size  of  the  check  may  be  increased  as 
desired  by  changing  the  drawing-in  draft  and  chain  draft  to 
suit  the  requirements.  Fig.  15  illustrates  a  design  formed 
by  this  method  of  enlarging  a  check-weave;  it  has  been 

formed  by  simply  ex¬ 
tending  each  section  of 
Fig.  14  ( e )  in  both  ends 
and  picks.  Take,  for 
example,  the  section  oc¬ 
cupying  the  lower  left- 
hand  corner  in  both. 
Figs.  14  ( e )  and  15.  Both 
of  these  weaves  are  the 
same,  the  only  difference 
being  that  while  in  one 
case  the  weave  occupies 
6  ends  and  6  picks,  in  the 
other  it  occupies  12  ends 
and  12  picks.  The  same 
has  been  done  with  each  of  the  four  sections,  thus  causing 
the  new  weave  to  occupy  24  ends  and  24  picks,  where  it 
originally  occupied  but  12  ends  and  12  picks.  The  weave 
shown  in  Fig.  14  ( e )  can  be  made  on  6  harnesses,  which  is 
the  same  number  on  which  Fig.  15 
can  be  woven. 

12.  Stripes  may  be  formed  in  a 
variety  of  ways,  not  only  by  equally 
flushed  twills  but  also  by  opposing 
a  warp-flush  twill  with  a  filling-flush 
twill.  The  same  is  equally  true  of 
checks  and,  consequently,  a  check- 
design  may  readily  be  formed  from 
a  stripe  design  that  has  been  ob¬ 
tained  by  combining  warp-  and  filling-flush  twills.  Fig.  16  is 
an  example  of  this  type  of  check-designs.  The  first  8  picks 
of  this  design  alone  form  a  stripe  design,  obtained  by  com¬ 
bining  the  warp-flush  twill  with  the  filling-flush  twill  -S'. 


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□□BDDDBD 

□□□Banna 

annnannn 

□annnann 

□nannnan 

□□□annaa 

annnannn 

Fig.  16 


BDDDBBBD 

□□BBannD 

□BBBnnna 

BBBDDDBB 

BBDDDBBB 

BlDDBBBD 

□□□BBBDDI 

□BflBnnna 

□□flsnnBB 

□□□BQBBB 

BnnnBBBn 

BBnnBann 

BBanannn 

□BBBnnnB 

□□BBnnBB 

BBnnnaBB 

annnBBBn 

□□□BBann 

□□BBannn 

□BBBnnna 

BBBnnnBB 

BannnBBB 

BnnnBBBn 

BBDDDBBB 

BBBnnnBB 

□BBBnnna 

□□BBannn 

■■□□□BBS 

annnBBBn 

□□□BBann 

□□BBannn 

□nnanaBB 

BnnnBBBn 

BannBBnn 

BBanBnnn 

□□□■□BBB 

□□BBnnBB 

□BBBnnnB 

BBanannn 

□□BBnnBB 

□nnanaBB 

BnnnBBBn 

BannBBnn 

BBanannn 

nBBBnnna 

□□BBnnBB 

□nnanaBB 

□BBBnnna 

BBBnnnBB 

BBnnnaBB 

BnnnBBBn 

□□□BBann 

□□BBannn 

□BBBnnna 

BBBnnnBB 

BannaBnn 

annnBBBn 

□nnanBBB 

□□BBnnBB 

□BBBnnnB 

BBanannn 

BannBBnn 

BnnnBBBn 

□BBBnnnB 

□□BBannn 

□□□BBann 

BnnnBBBn 

BBnnnaBB 

BBBnnnBB 

□BBBnnna 

□□Baannn 

Fig.  15 


§77 


COMBINATION  WEAVES 


15 


The  next  8  picks  are  formed  by  opposing  the  warp-flush  sec¬ 
tion  with  the  filling-flush  weave  and  the  filling-flush  section 
with  the  warp-flush  weave.  This  weave  cuts  perfectly  at 
all  points. 

13.  Warp-  and  filling-satin  weaves  are  often  combined 
to  form  stripe  weaves,  and  these  also  may  be  extended  to 
check-weaves  and  made  to  cut  at  all  points.  Fig.  17  is  an 
example  of  a  cut  check-weave  made  from  warp  and  filling 
satins.  When  combining  weaves  of  this  class  to  form  a 
check,  the  explanations  given  for  stripe  weaves  made  by 
combining  satins  should  be  carefully  noted,  especially  with 
regard  to  the  relation  that  the  base 
of  the  warp  satin  should  bear  to  the 
base  of  the  filling  satin  in  order  to 
make  the  weaves  cut  at  all  points, 
and  also  with  regard  to  starting  the 
weaves  on  certain  ends  and  picks 
for  the  same  purpose.  In  Fig.  17, 
the  eighth  and  ninth  ends  and  the 
first  and  last  ends,  also  the  eighth 
and  ninth  picks  and  the  first  and  last 
picks,  cut  perfectly,  since  in  each 
case  the  warp  and  filling  floats  of  one  weave  oppose  the 
filling  and  warp  floats  of  the  other. 

It  will  be  found  advantageous  to  practice  making  these 
weaves,  as  well  as  all  weaves  that  are  explained  in  this 
Course,  as  it  is  only  by  constant  practice  that  familiarity 
with  the  methods  employed  can  be  obtained.  In  making  a 
check-weave,  it  is  simply  necessary  to  decide  on  the  weave 
that  is  to  form  the  base  and  run  this  weave  up  for  as  many 
ends  and  picks  as  desired.  From  this  weave,  form  a  stripe 
design  by  following  the  explanations  given  for  stripes  and 
afterwards  extending  the  weave  in  its  picks  to  form  a  check, 
always  being  careful,  however,  to  see  that  the  weaves  cut 
at  all  points.  Check-weaves  constructed  after  the  manner  of 
Figs.  16  and  17  are  known  as  diaper  weaves. 


■■■■■■■□ 

■□■■■■■■ 

■■■■■■□■ 

■■■□■■■a 

□■■■■■■■ 

■■□■■■a! 

BDDnaaco 

□□□BOnOD 

□□□□□□an 

□□□□ammo 

□□□□□□□a 

□□□□□ana 

□(!»□□□□□ 

□□□□□BCD 

annDnDDD 

□□□□□□an 

□BCDDDDn 

□□□□amen 

□□□□□□□a 

BBnBBBBB 

BBBBBLJBB 

□BBBBBBB 

BBBDBBBB 

aiBBiina 

aaaaBBBB 

BBBBIJBBB 

Fig.  17 


92—14 


16 


COMBINATION  WEAVES 


§77 


CHECKS  FORMED  BY  REVERSING 

14.  Another  method  of  forming  checks  is  by  means  of 
what  is  termed  reversing,  or  transposing,  and  consists 
of  taking  any  simple  weave  as  a  base  and  combining  it  with 
a  weave  that  contains  filling  floats  where  the  original  weave 
has  warp  floats  and  warp  floats  where  the  original  has  filling 
floats.  The  combination  of  these  weaves  will  make  a  stripe 
from  which  a  check  may  be  formed  by  reversing  or  trans¬ 
posing  the  stripe  design  in  the  same  manner  as  the  original 

weave  was  transposed  to 
obtain  the  stripe. 

To  illustrate  this  method 
of  forming  checks,  suppose 
that  it  is  desired  to  form 
a  check-weave  using  the 
weave  shown  in  Fig.  18  (a) 
as  a  base.  This  figure  oc¬ 
cupies  5  ends  and  5  picks; 
taking  the  next  5  ends  and 
5  picks  across  the  design 
paper,  fill  in  those  squares 
that  correspond  to  the 
squares  left  blank  in  the 
original  figure,  leaving 
blank  those  squares  that 
were  filled  in  in  the  original 
figure.  In  order  to  make  this  somewhat  plainer,  the  weave 
will  be  made  from  Fig.  18  (a),  keeping  the  weaves  separate, 
although  in  reality  they  should  be  combined  when  making 
the  stripe  design.  Fig.  18  ( b )  shows  the  weave  obtained  by 
transposing  the  weave  shown  in  Fig.  18  (a).  In  transposing 
a  weave  in  this  manner  to  form  a  stripe,  the  first  end  of  the 
new  weave  is  to  be  the  reverse  of  the  last  end  of  the  original 
weave;  the  second  end  of  the  new  weave  is  to  be  the  reverse 
of  the  next  to  the  last  end  of  the  original;  and  so  on. 

Considering  Fig.  18  (a)  and  (b),  the  last,  or  fifth,  end  of 
Fig.  18  (a)  is  lowered  on  the  first  pick,  raised  on  the  second 


□□□■□ 

■■■■□ 

□■■■■ 

□■□□□ 


(a) 


■□■■■ 

■□□□□ 

□□□□■ 

■  ■■□■ 


(*) 


□□ 


(c) 


■  ■ 

□□ 


id) 


■□□□□■■a 


BDBDBDBD 

□□□□BOB 

BBBDBDBD 

□□□BDBD 

BBBBDBDD 

□BDBDBD- 
□  BBBBLIiJiJ 
□BDDDBB 


BD 

IS 

BB 

□□ 

BB 

□□ 

□B 
□  B 

□B 


M 

Fig.  18 


§77 


COMBINATION  WEAVES 


17 


□■■■□□ns 


□□□i 

□□r 


□ 


pick,  and  lowered  on  the  third,  fourth,  and  fifth  picks.  The 
first  end  of  Fig.  18  ( b )  is  exactly  the  reverse,  since  it  is 
raised  on  those  picks  on  which  the  fifth  end  of  Fig.  18  (a) 
is  lowered,  and  is  lowered  on  those  picks  on  which  the  fifth 
end  is  raised.  The  fourth  end  of  Fig.  18  (a)  is  exactly  the 
reverse  of  the  second  end  of  Fig.  18  (b) ,  since  on  those 
picks  on  which  one  end  is  raised  the  other  end  is  lowered, 
and  also  on  those  ends  on  which  one  end  is  lowered  the 
other  end  is  raised.  The  same  is  true  with  the  third  end  of 
Fig.  18  (a)  and  the  third  end  of  Fig.  18  ( b );  with  the  second 
end  of  Fig.  18  (a)  and  the  fourth  end  of  Fig.  18  ( b );  with 
the  first  end  of  Fig.  18  (a)  and  the  last  end  of  Fig.  18  (b) . 
Thus,  if  these  two  weaves  were  combined  to  form  a  stripe, 
they  would  be  found  to  cut  perfectly.  Fig.  18  (c)  shows 
the  stripe  weave  formed  in  this 
manner. 

It  next  becomes  necessary  to 
form  a  check-design  from  the 
stripe  shown  in  Fig.  18  (c) .  In 
order  to  form  this  weave,  the 
stripe  must  be  extended  in  its 
picks  by  reversing  the  picks. 

This  will  be  dealt  with  in  the 
same  manner  as  when  forming  the  stripe  from  the  original 
weave.  Fig.  18  ( d )  shows  the  weave  formed  from  the  stripe 
that  must  be  combined  with  it  to  make  the  check.  This 
weave  is  formed  by  reversing  the  picks  of  Fig.  18  ( c )  in  the 
same  manner  as  Fig.  18  ( b )  was  formed  by  reversing  the  ends 
of  Fig.  18  (a).  Thus,  the  first  pick  of  Fig.  18  (d)  is  the 
reverse  of  the  fifth  pick  in  Fig.  18  ( c );  the  second  pick  of 
Fig.  18  (d)  is  the  reverse  of  the  fourth  pick  of  Fig.  18  (c); 
the  third  pick  of  Fig.  18  (d)  is  the  reverse  of  the  third  pick 
of  Fig.  18  ( c );  and  so  on  for  all  the  picks. 

By  combining  these  two  weaves,  the  check-design  shown 
in  Fig.  18  ( e )  is  obtained,  which  cuts  at  all  points.  Fig.  19  (a) 
is  another  base  from  which  to  form  a  check-weave  after  the 
manner  described,  while  Fig.  19  (b)  shows  the  completed 
weave.  This  weave  also  cuts  at  all  points — a  feature  that 


□■■■□□■a 

BHBannsa 


■□□□ 

2SS»Bl1 

□□□■ 

■□□□ 


(a) 


W 


Fig.  19 


18 


COMBINATION  WEAVES 


§77 


is  always  desirable  with  these  weaves.  Check-weaves  are 
produced  by  a  variety  of  methods.  It  is  not  necessary 
always  to  have  the  different  weaves  that  form  the  check  cut 
perfectly,  although  much  neater  and  clearer  effects  are 
produced  when  this  is  the  case. 


COMBINATIONS  OF  WEAVES  OF  DIFFERENT  STRUCTURE 

15.  Another  method  of  forming  check-weaves  is  that  of 
combining  different  weaves  in  such  a  manner  that  distinct 
effects  will  be  formed  in  the  cloth,  so  arranged  that  the 
whole  will  produce  a  check.  Fig.  20  shows  a  check-weave 
formed  in  this  manner.  The  whole  figure  may  be  divided 
into  four  parts;  namely,  the  lower  left-hand  corner,  the 


□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□■■□□■a 

□□■■□□■a 

□□BBDDBB 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

BBDDBBDD 

BBBDDDBD 

□BBBDDDB 

□DBBDDDB 

BDDDBBDD 

BDDDBBBD 

□BDDDBBB 

□□BBDDBB 

BBDDBBDD 

BBBDDDBD 

□BBBDDDB 

□DBBDDDB 

BDDDBBDD 

BDDDBBBD 

□BDDDBBB 

□□BBDDBB 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□□BBDDBB 

BBDDBBDD 

BBDDBBDD 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

BBDDBBDD 

BBBDDDBD 

□BBBDDDB 

□DBBDDDB 

BDDDBBDD 

BDDDBBBD 

□BDDDBBB 

□□BBDDBB 

□□BBDDBB 

□BDDDBBB 

BDDDBBBD 

BDDDBBDD 

□DBBDDDB 

□BBBDDDB 

BBBDDDBD 

BBDDBBDD 

Fig.  20 


lower  right-hand  corner,  the  upper  left-hand  corner,  and  the 
upper  right-hand  corner.  The  weave  in  the  lower  left-hand 
corner  is  the  regular  4-end  basket  repeated  twice  in  its 
ends  and  six  times  in  its  picks;  the  weave  in  the  upper 
right-hand  corner  is  the  same,  but  instead  of  occupying  the 
same  number  of  ends  and  picks  in  this  case,  it  is  repeated 


§77 


COMBINATION  WEAVES 


19 


six  times  in  its  ends  and  twice  in  its  picks.  The  weave  in 
the  upper  left-hand  corner  is  a  fancy  twill  complete  on  8  ends 
and  8  picks,  while  in  the  lower  right-hand  corner  the  same 
weave  is  repeated  three  times  in  both  ends  and  picks.  By 
combining  these  weaves  in  this  manner,  a  distinct  check 


1 

1 

1 

BDDBBDDB 

■■□□■■□□ 

□BBDDBBD 

□DBBDDBB 

anDBBDDB 

□□BBDDBB 

□BBDDBBL 

BBDDBBDC 

■□□BBDDB 

□□BBDDBB 

□■■□□■■□ 

BBDDBBm 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

□■■□□■BE 

□□■■□BBB 

■□BBDDBB 

■■□■□□■□ 

□■□■□□BE 

□■□■■□■■ 

■■□■■□□■ 

■■□□■■□□ 

□■■□□■BE 

□□■■□■■■ 

■□■■□□■fl 

■■□■□□BE 

□■□■□□BE 

□■□■■□■■ 

■■□■■□□■ 

■■□□■■□□ 

□BBDDBBD 

□DBBDBBB 

■DBBDDBB 

■■□■□□■□ 

□■□■□□■□ 

□■□■■□■■ 

■■□BBDDB 

■■□□Hann 

□DBBDDBB 

■□□BBDDB 

BDDBBDDB 

BBDDBBDD 

□BBDDBBD 

□□BBDDBB 

■□□■■□□■ 

■■□□■■□□ 

□BBDOBBD 

□□BBDDBB 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

□■■□□■■□ 

□□■■□■■■ 

■□■■□□■■ 

■■□■□□■□ 

□■□■□□■□ 

□■□■■□■■ 

■■□■■□□■ 

■■□□■■□□ 

□BBDDBBD 

■■■■■■□□ 

■BDDDDOB 

□DDDDBBB 

□■■■■■■□ 

BBBDDDDD 

■□□■■■■■ 

□DBBDDBB 

■■□□■■□□ 

■■■■■□□a 

□□□□□■■■ 

□■■■■■■□ i 

■■■□□□□□ i 

■□□□□□■■ i 

□□■■■■■■ ! 

□BBDDBBD 1 

1  BDDBBDDB 

1  BBDDBBDC 

□■■□□■BE 

□□■■□□■a 

■□□■■□□■ 

■■□□■■□□ 

□BBDDBBD 

□DBBDDBB 

■□□■■□□■ 

□□BBDDBB 

□BBDDBBD 

BBDDBBDD 

■□□BBDDB 

□□BBDDBB 

□■■□□■■□ 

■■□□■■□□ 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

■□□■■□□■ 

□□■■□□■■ 

□■■□□■■□ 

■■□□■■□□ 

□■■□□■■□ 

□□■■□■■■ 

■DBBDDBB 

■■□■□□■□ 

□■□■□□■□ 

□■□■■□■■ 

■■□■■□□■ 

BBDDBBDD 

□BBDDBBD 

□□■■□■■■ 

■□BBDDBB 

■■□■□DBD 

□■□■□□■□ 

□BDBBDBB 

■■□BBDDB 

BBDDBBDD 

□BBDDBBD 

■BBBBBDE 

■■□□□□□■ 

□□□□□■■■ 

□BBBBBBD 

■■■□□□□□ 

■□□■■■■■ 

□□■■□□■n 

i  dbbddbbe 

1  BBBBBBDE 

1  ■■□□□□□■ 

□□□□□BBB 

□  BBBBBBlJ 

■■■□□□□□ 

■□□■■BBB 

□DBBDDBB 

□■■□□■■□ 

■■■■■■□□ 

■■□□□□□■ 

□□□□□■■■ 

□■■■■■■□ 

■■■□□□□□ 

■□□■■■■■ 

□□■■□□■■ 

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■□□■■□■■ 

■■□■■□■□ 

□■□□■□■□ 

□■□□■□■■ 

■■□□■■□■ 

■■■□■■□□ 

□BBDDBBD 

□□BBDDBB 

□BBDDBBD 

■■□□■■□□ 

BDDBBDDB 

□□■■□□■■ 

□BBDDBBD 

■■□□■■□□ 

BDDBBDDB 

□□BBDDBB 

□BBDDBBD 

BBDDBBDD 

■□□■■□□■ 

□□BBDDBB 

□BBDDBBD 

BBDDBBDD 

BDDBBDDB 

□DBBDDBB 

□BBDDBBD 

■■□□■■□□ 

BDDBBDDB 

□□■■□□■a 

□BBDDBBD 

■■□□■■□□ 

■□□■■nni 

□aannaar 

BBBBBBIjr 

■■□□□□□■ 

□□□□□BBB 

□■■■■■■□ 

■■■□□□□□ 

■LBBBBB 

□DBBDDBB 

□□■■□□El 

■□□■■□■■ 

■■□■■□■□ 

□■□□■□■□ 

□■□□■□■■ 

■■□□■■□■ 

■■■□■■□□ 

□■■□□■■□ 

□□■■□□■■ 

■□□■■□■B 

■■□■■□■□ 

□■□□■□■□ 

□■□□■□■■ 

■■□□■■□■ 

■■■□■■□□ 

□■■□□■■□ 

□□■■□□■■ 

□BBDDBBD 

■■□□■■□□ 

BDDBBDDB 

□□■■□□■■ 

□BBDDBBD 

■■□□■■□□ 

BDDBBDDB 

□DBBDDBB 

□BBDDBBD 

■■□□■■□□ 

■□□■■□□■ 

□DBBDDBB 

□BBDDBBD 

■■□□■■□□ 

■□□■■□□a 

BBDDBBDD 
□BBDDBBD 
□DBBDDBB 
BDDBBDDB 
■■□□■■□□ 
□BBDDBBD 1 
□DBBDDBB I 
BDDBBDDB 1 

□□BBDDBB 

BDDBBDBfl 

■■□■■□■□ 

□■□□■□■□ 

HBDQBQBB 

■■□□■■□a 

BBBDBBDD 

HBBDDBBD 

■■□□■■□□ 

■■■■■□□■ 

□□□□□■■■ 

□■■■■■■□ 

■■■□□□□□ 

■□□□□□■■ 

□□■■■■■■ 

□■■□□■■□ 

□□■■□□■■ 

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■■□■■□■□ 

□■□□■□■□ 

□■□□■□■■ 

■■□□■■□■ 

■■■□■■□□ 

□■■□□■■□ 

□□■■□□■■ 

□BBDDBBD 

BBDDBBDD 

■□□■■□□■ 

□□■■□□■■ 

□BBDDBBD 

■■□□■■□□ 

■□□■■□□■ 

□DBBDDBB 

□BBDDBBD 

■■□□■■□□ 

■□□■■□□■ 

□DBBDDBB 

□BBDDBBD 

■■□□■■□□ 

■□□■■□□■ 

1  BDDBBDDB 

)  ■■□□■■□□ 

1  □■■□□■■□ 

□DBBDDBB 

■□□■■□□■ 

■■□□■■□□ 

□BBDDBBD 

□□■■nma 

Pig.  21 


effect  is  formed  in  the  cloth,  and  they  cut  perfectly  where 
joined.  Although  this  weave  occupies  32  ends  and  32  picks, 
it  is  possible  to  draft  it  down  to  16  harnesses. 

Checks  formed  by  combining  different  weaves  in  this 
manner  are  more  difficult  to  construct  than  those  previously 


20 


COMBINATION  WEAVES 


§77 


described,  on  account  of  the  difficulty  in  finding  weaves  of 
different  constructions  that  will  cut  perfectly.  In  all  cases, 
perfect  cuts  are  not  obtainable  in  this  class  of  checks,  but 
the  joining  places  should  always  be  made  as  perfect  as 
possible  and  the  weaves  should  be  combined  in  such  a 
manner  that  the  floats  of  warp  or  filling  will  not  be  any 
longer  than  possible. 

16.  Check-weaves  are  sometimes  formed  by  combining 
twill  weaves  that  form  different  angles  in  the  cloth.  Fig.  21 
is  an  example  of  this  class  of  weaves,  in  which  the  check  is 
formed  by  combining  a  cassimere  twill  that  makes  an  angle 
of  45°  with  a  fancy  upright  twill  complete  on  8  ends  and 
8  picks.  The  weave  is  complete  on  48  ends  and  48  picks, 
but  can  be  drawn  and  woven  on  16  harnesses.  Check- 
weaves  made  on  this  principle  can  very  rarely  be  made  to 
cut  perfectly  all  around,  as  is  the  case  with  Fig.  21. 


WEAVES  RESULTING  FROM  OTHER 
COMBINATIONS 


WEAVES  FORMED  FROM  MOTIVES 

17.  When  weaves  are  to  be  combined  so  as  to  produce 
a  more  or  less  elaborate  pattern  instead  of  a  simple  arrange¬ 
ment  as  in  stripes  and  checks,  the  order  or  method  of  their 
arrangement  is  usually  indicated  by  a  motive.  A  motive  as 
considered  in  this  connection  is  a  weave  figure  that  shows 
the  arrangement  of  the  separate  weaves  in  the  combination 
weave.  It  may  be  defined  as  a  plan,  or  skeleton,  of  the 
desired  pattern  that  may  be  enlarged  into  an  extensive 
design;  the  motive  simply  shows  the  general  arrangement 
of  the  pattern,  but  gives  no  idea  of  the  ultimate  extent  of 
the  resultant  combination  weave  nor  of  what  weaves  are  to 
be  combined.  In  using  a  motive  as  a  plan  for  combining 
weaves,  the  filled  squares  of  the  motive  are  assumed  to 
represent  one  of  the  weaves  to  be  combined  and  the  blank 


§77 


COMBINATION  WEAVES 


21 


squares  another  weave,  the  combination  weave  being  made 
of  any  desired  size  by  extending  the  motive. 

For  instance,  Fig.  22  ( a )  shows  a  motive  from  which  it  is 
desired  to  produce  a  design  that  will  be  complete  on  16  ends 
and  16  picks.  The  motive  occupies  4  ends  and  4  picks,  and 
the  filled-in  squares  and  the  blank  squares  of  the  motive  rep¬ 
resent  two  distinct  weaves.  The  first  item  to  be  determined 
when  constructing  a  weave  from  a  motive  is  the  number  of 
ends  and  picks  occupied  by  the  weave  that  is  represented 
by  each  square  of  the  motive.  Thus,  since  the  constructed 
weave  is  to  occupy  16  ends  and  16  picks,  while  the  motive 
occupies  4  ends  and  4  picks,  each 
square  of  the  motive  must  represent 
4  ends  and  4  picks  of  the  constructed 
weave  (16 -f- 4  =  4),  or,  in  other 
words,  the  weave  represented  by 
each  square  of  the  motive  must  oc¬ 
cupy  exactly  4  ends  and  4  picks,  in 
order  to  make  the  constructed  weave 
complete  on  16  ends  and  16  picks. 

It  will  be  assumed  that  each  blank 
square  of  the  motive  represents  the 
filling  crow  twill  -Hr,  while  each 
filled-in  square  of  the  motive  rep¬ 
resents  the  warp  crow  twill  - r .  It 
now  remains  to  combine  these 
weaves  in  such  a  manner  that  they  will  occupy  the  same 
relative  positions  in  the  constructed  weave  that  the  filled-in 
and  blank  squares  occupy  in  the  motive.  Fig.  22  (b)  shows 
the  weave  made  in  this  manner  from  the  motive  shown  in 
Fig.  22  (a).  Comparing  these  views,  the  square  in  the  lower 
left-hand  corner  of  the  motive  is  blank;  therefore,  the  first 
4  ends  and  4  picks  of  Fig.  22  (b)  are  composed  of  the  filling 
crow  twill.  The  next  square  of  the  motive  counting  across 
the  page  is  marked;  therefore,  the  next  4  ends  and  4  picks  are 
composed  of  the  warp  crow  twill.  This  method-  is  continued 
throughout  the  weave,  and  the  effect  when  produced  in  the 
cloth  will  be  similar  to  the  motive  shown  in  Fig.  22  ( a ). 


□□■c 

■■■□ 

□■■■ 


U) 


■□■■■□■a 

DBBBDBBB 

BBBDBDDD 

BBDBDBDD 

HDBBDDBO 

□BBBDDDB 

BBBDBDDD 

BBDBDBDD 

BDBBDDBD 

□BBBDDDB 

BDODBBBD 

□BODBBDB 

DDBDBDBB 

□□□BOBBB 

BDDDBBBD 

DBDDBBDB 

□□■□■□■a 

□□□BfUBBB 

BBBDBBBD 

BBDBBBDB 

BDBBBDBB 

DBBBDBBB 

BDDDBDDD 

DBDDDBDD 

DDBDDDBD 

DDDBDDDB 

(b) 


Fig.  22 


22 


COMBINATION  WEAVES 


§77 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  check-weave  on  16  ends  and  16  picks  with  the  ^  twill. 

2.  Enlarge  the  weave  given  in  answer  to  question  1  so  that  it  will 
occupy  32  ends  and  32  picks. 

3.  Form  a  check-weave  with  a  5-end  warp-flush  and  a  5-end  filling- 
flush  satin. 

4.  Form  a  check-weave  by  reversing  weave  32,  Glossary  of  Weaves. 

5.  Considering  weave  200,  Glossary  of  Weaves,  as  a  motive,  con¬ 
struct  a  weave  on  32  ends  and  32  picks,  using  the  filling-flush  crow 
twill  weave  for  the  filled-in  squares  of  the  motive  and  the  warp-flush 
crow  twill  for  the  blank  squares. 


FOUR-CHANGE  METHOD  OF  CONSTRUCTING 
NEW  WEAVES 

18.  New  and  novel  weaves  may  be  constructed  from 
simple  foundation  weaves  by  means  of  what  is  known  as  the 
four-change  method.  Some  of  the  weaves  thus  obtained 
will  be  found  to  be  granite  weaves,  while  others  partake  of 
the  nature  of  small  fancy  twills.  In  constructing  a  new  weave 
by  four  changes,  a  simple  weave  of  regular  structure,  such 
as  the  cassimere  twill,  the  crow  weaves,  6-,  7-,  or  8-end 
twills,  etc.,  should  be  selected  as  a  foundation.  It  is  also 
important  to  select  a  weave  for  a  base  that  repeats  on  the 
same  number  of  ends  as  picks.  The  new  weave  obtained 
will  always  be  complete  on  twice  as  many  ends  and  picks  as 
the  foundation  weave;  thus,  if  a  weave  is  used  for  a  base  that 
is  complete  on  6  ends  and  6  picks,  the  derived  weave  will 
occupy  12  ends  and  12  picks. 

To  illustrate  this  method  of  originating  weaves,  suppose 
that  it  is  desired  to  construct  a  new  weave  from  the  cassimere 
twill,  Fig.  23  (a).  Since  the  cassimere  weave  is  complete 
on  4  ends  and  4  picks,  the  new  weave  in  this  case  will  occupy 
8  ends  and  8  picks.  The  first  step  is  to  place  the  foundation 
weave  on  design  paper  in  such  a  manner  that  each  end  of  the 
weave  is  separated  from  the  next  by  1  blank  end,  and  each 


77 


COMBINATION  WEAVES 


23 


pick  from  the  next  by  1  blank  pick,  as  shown  by  the  l’s  in 
Fig.  23  (b).  The  design  paper  is  then  turned  one-quarter 
way  around  to  the  right,  that  is,  so  that  the  last  end  will  be 
in  the  position  of,  and  considered  as,  the  first  pick,  and  the 
same  weave  placed  on  the  design  in  exactly  the  same  relative 
position  as  in  the  first  instance,  as  shown  by  the  2’s  in 
Fig.  23  (c) .  The  design  paper  is  then  turned  a  quarter 
way  around  again,  that  is,  so  that  the  last  pick  in  Fig.  23  (b) 
will  occupy  the  position  of,  and  be'  considered  as,  the  first  pick, 
and  the  weave  again  placed  on  the  design  in  exactly  the  same 
manner,  as  shown  by  the  3’s  in  Fig.  23  (d) .  The  design 


□□■a 


M 


□□□□□□□□ 

□□□□□□ODD 

□□□□□□□□ 

□□□□mama 

□□□□□□□□ 

□□mmfflDco 

□□□□□□□□ 


□□□□□□BD 

OBDDDBdlB 

BDBBBBBB 

□□□□HOOD 

□□BBBBBB 

□□EDEIBBB 

□□□□BBBB 

SBEDBBBB 


(*) 


(c) 


1st  Insertion 


2d  Insertion 


0DBBBIUSID 

SnUBBBSlB 

HBSEDBfflBB 

□□□□SIBHIB 

□EDBCE0BBB 

□□SODBBB 

□[□□□BBSCkl 

S1BS1DBBDB 

aBBBBESIll 

ffiBBBBBSlB 

BBSEBEBB 

□□□EH50SO 

□EBHBBBB 

□□BlBfflHOB 

□EJBBBBSm 

BIBSIBBBBB 

HBBBBBBD 

0DBBBSDD 

□□□BBBHB 

□BBBBBBB 

□□BBBBBB 

□BQDBQBB 

KBSLZOmB 

(d) 

3d  Insertion 

(«) 

4th  Insertion 

(/) 

Fig.  23 


paper  is  then  turned  in  the  same  ‘direction  another  quarter 
revolution,  so  that  the  first  end  will  occupy  the  position  of, 
and  be  considered  as,  the  first  pick,  and  the  same  weave 
inserted  for  the  fourth  and  final  time,  as  shown  by  the  4’s  in 
Fig.  23  (<?).  In  Fig.  23  {b),  (c) ,  (d),  and  (e) ,  numbers  are 
used  instead  of  filled  squares,  so  that  each  insertion  of 
Fig.  23  (a)  may  be  clearly  indicated  in  its  proper  relative 
position.  Considering  each  number  in  Fig.  23  (e)  to  repre¬ 
sent  a  riser,  or  filled  square,  the  new  weave  as  shown  in 
Fig.  23  (/)  will  result;  that  is,  Fig.  23  (/)  shows  every 
numbered  square  in  Fig.  23  ( e )  as  a  filled  square,  and  is 
the  completed  derived  weave. 


CD  S3 


24 


COMBINATION  WEAVES 


§77 


Each  time  a  quarter  revolution  is  given  to  the  design 
paper,  the  square  in  the  lower  left-hand  corner  is  considered 


(d) 

3d  Insertion 


4th  Insertion 

Fig.  24 

s  the  square  representing  the  crossing  of  the  first  end  and 
rst  pick,  and  the  weave  is  placed  accordingly  on  the  design 


BDBDDDBB 

□BDBDDBB 

BDBBDBDD 

□BBBBDDD 

□□□BBBBD 

□DBDBBDB 

BBDDBDBD 

BBDDDBDB 

BBDDDBDB 

BBDDBDBD 

□□BDBBDB 

□□□BBBBD 

□BBBBDDD 

BDBBDBDD 

□BDBDDBB 

BDBDDDBB 

BDBDQDBI 

□BDBDDBB 

BDBBDBDD 

□BBBBDan 

□□□BBBBD 

□DBDBBDB 

BBDDBDBD 

■■□□□BDB 

BDBDDDBB 

□BDBDDBB 

BDBBDBDD 

□BBBBDDD 

□□□BBBBD 

□□BDBBDB 

BBDDBDBD 

BBDDDBDB 

(/) 


SDSDDDSD 

□□□□□□(2D 

BDBDDDDD 

□□(IID0DDD 

□□□□BDBD 

□DEEEEDD 

BDDDBDBD 

0DDDDDDD 

BDDDDDDD 

0DDDHDHD 

□□BDBDDD 

□□□□®D0D 

□□BDBDDD 

(2DEEDDDD 

□□□□□□BD 

0D0DDD0D 

BDDDDDDD 

0DDDED0D 

□DBDBDDD 

□□□DHDHD 

□DBDBDDD 

oDEonaDD 

□□□□□□an 

EEEEDDEE 

BDBDDDBD 

□□□□□□BID 

BDBDDDDD 

□D0D0DDD 

□□□□BDBD 

□DEEEEDD 

BDDDBDBD 

EEDDDDDD 

ic) 

2d  Insertion 


dbdbdddb 

BDSGDDEOD 

DBDBIDDDD 

□□□(2@E)@D 

□□annana 

@E)DD@D@D 

DBDDDBDB 


@0DDDE)D(2 

fflBDDSlDfflD 

□□@□@@□(2 

□□□B0OBB1D 

□DBEIBDDD 

@od2]BDBdd 

□I2D12DD@[2 

DDDDDDSiB 


@ bedded® 

B1BDDS1DB1D 

□□SDSEEE) 

□□□BB1BBE 

□ei@(2@ddd 

B1DB1BDBDD 

□EEI2DD@[2 

DDglDDDfflB 

@□@□□□@12 

□□□□□□BIB 

@n@soi2nn 

□bdbbedd 

□□□(2@(2@D 

□□BEB1BDB 

@®DD@D@D 

(BBDDDBDB 


U) 


□□□■■□■a 

□BBDDDBB 

□BBDBBDD 

BCOCBBnB 

BDBBDDDB 

□□BBDBBD 

BBDDDBBD 

BBaBBODD 


(a) 


!□□□□□□□□ 

□BDDDDDD 

□□□□□□□□ 

□□□BDBDD 

□□□□□□□□ 

□□□BDBDD 

□□□□□□□□ 

□□□□□□□B 

□□□□□□□□ 

heddddhe 

□□□□□□□□ 

□□□□□eio 

□□□□□□□□ 

lDDIDDDDDD 

□□□□□□□□ 

□□□□□□DOD 

□□□□□□□□ 

maDDmama 

□□□□□□□□ 

□□□□□□(BD 

□□□□□□□□ 

EECDDDDDD 

□□□□□□□□ 

□□□□□□tun 

□□□□□□□□ 

□BDDDDDD 

□□□□□□□□ 

□□□BDBDD 

□□□□□□□□ 

□□□BDBDD 

□□□□□□□□ 

□□□□□□□B 

(*) 

1st  Insertion 


@□@□□□@111 

□□□□□□(2D 

@D@[EDmnn 

□DEEEIDDD 

□□DUBBED 

□DSESIDDD 

SBDDSDSD 

EEDDDDDD 

BDDDDDDD 

SEDDEEEE 

□DBDBDDD 

□DDDEIDSE 

□DBDBDDD 

SESEDDDD 

□DDDDDBD 

EESEDDEID 

SBDDDBDB 

SEDDEEEE 

□D@DSBDB 

□□□□S1DSE 

□DBDBDDD 

SESEDDDD 

□DDDDDBD 

SEEEDDSE 

BDBDDDBD 

□□□□□□(HD 

BDBDDDDD 

□DSEEEDD 

□□□DBDBD 

□DSESEDD 

BDDDBDBD 

EEDDDDDD 

§77 


COMBINATION  WEAVES 


25 


paper  in  its  proper  position.  If  this  is  done,  and  the  weave 
properly  inserted  each  time  so  that  each  end  and  pick  is 
separated  by  one  other  end  and  pick,  it  will  be  found  that  no 
two  marks  or  risers  will  fall  on  the  same  square,  but  each 
will  find  a  blank  square  of  its  own  in  which  to  be  placed.  If 
an  equally  flushed  weave  is  used  as  a  foundation  weave,  the 
derived  weave  will  also  show  an  equal  amount  of  warp  and 
filling  on  the  face,  and  if  the  foundation  weave  is  unequally 
flushed,  the  derived  weave  will  show  the  warp  and  filling  on 
the  face  in  the  same  proportion  as  the  foundation  weave. 

19.  As  a  further  illustration  of  this  method  of  origina¬ 
ting  weaves,  suppose  it  is  desired  to  make  a  new  weave 
with  the  8-end  twilled  basket,  Fig.  24  (a),  as  a  foundation 
weave.  Since  this  weave  is  complete  on  8  ends  and  8  picks, 
the  new  weave  obtained  from  it  will  occupy  16  ends  and 
16  picks.  Fig.  24  (b)  shows  the  foundation  weave  opened 
out  and  placed  on  the  design  paper  in  the  proper  manner 
Fig.  24  ( c )  shows  the  weave  again  inserted  in  the  design 
but  with  the  last  end  considered  as  the  first  pick.  Fig.  24  (d) 
shows  the  weave  inserted  the  third  time,  with  the  last  pick 
considered  as  the  first,  while  Fig.  24  (e)  shows  the  weave 
inserted  for  the  fourth  time,  with  the  first  end  considered  a? 
the  first  pick,  which  completes  the  weave.  Fig.  24  ( b ),  (c) , 
(d),  and  ( e )  are  not  shown  in  the  same  relative 
position,  since,  as  indicated  by  the  position  of 
the  original  weave  in  each  figure,  the  design 
has  been  turned  one-quarter  way  around  for 
each  insertion  of  the  weave.  Fig.  24  (/) 
shows  the  completed  weave,  which  is  a  novel 
fancy  diamond  effect. 

20.  In  many  cases  entirely  different  effects 
are  produced  by  using  the  same  foundation 
weave,  but,  when  inserting  it  the  second  and 
fourth  times,  commencing  on  a  different  pick, 
so  that  the  relation  of  the  weave  to  the  first  and  third  inser¬ 
tions  is  changed.  For  instance,  take  the  effect  formed  with 
the  cassimere  twill  as  a  foundation  weave.  If  this  weave 


(a) 


( b ) 


□  □□□ 

■□nSJUHRD 


(c) 

Fig.  25 


26 


COMBINATION  WEAVES 


§77 


□□□■ 

■□□□ 


ID 

□■■■ 


(a) 


(b) 


is  inserted  as  shown  in  Fig.  25  (a)  the  first  time,  then  turned 
one-quarter  way  around  and  the  same  weave  inserted  but 
commenced  on  the  second  pick,  as  shown  in  Fig.  25  (b), 
then  turned  again  and  Fig.  25  (a)  inserted,  and  finally 
turned  and  Fig.  25  ( b )  inserted,  the  weave  shown  in 
Fig.  25  ( c )  will  be  obtained.  This  effect  is  entirely  different 
from  that  shown  in  Fig.  23  (/),  and  yet  is  produced  from  the 

same  foundation  weave,  the  relation 
of  the  insertions  of  the  foundation 
weave  being  changed. 

New  weaves  may  also  be  origi¬ 
nated  by  combining  warp-  and  filling- 
flush  weaves.  For  instance,  suppose 
that  it  is  desired  to  produce  a  new 
weave  using  the  filling-flush  crow 
weave,  Fig.  26  (a),  and  the  warp- 
flush  crow  weave,  Fig.  26  {b),  as 
foundation  weaves.  First,  the  filling- 
flush  weave  is  opened  out  and  placed 
on  the  design  paper,  the  weave  in  this 
case  occupying  8  ends  and  8  picks. 
The  design  paper  is  then  turned 
one-quarter  way  around  and  the  warp-flush  weave  inserted, 
then  another  quarter  revolution  and  the  filling-flush  weave 
inserted  again,  and  finally  another  quarter  revolution  and  the 
warp-flush  weave  inserted,  which  results  in  the  weave  shown 
in  Fig.  26  ic) .  The  weave  obtained  in  this  manner  may 
also  be  varied  by  commencing  one  of  the  weaves  on 
another  pick.  Fig.  26  ( c )  shows  two  repeats  both  in  the 
warp  and  filling. 


□□3  DEI  DISKS) 
□□□3D3B3 
3DDD3SSD 
□3DDS3DS 
3D3SDD3D 
□S3SDDDS 
033DSDDD 
BBDSD3DD 

□D3D3DBS 

□□□sdsbh 

SDDDSSSD 

□8DDSSDS 

bdbbddsd 

□bbbdddb 

HSKEDEnm 

EUxOgOEOn 

□■□□■■□a 

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□□□BIDE)  (3  IS) 
3DDD3H3D 
□3DDH3DS 

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HEHaaixnDD 

SIxDSnSlIUD 

(d 

Fig.  26 


EXAMPLES  FOR  PRACTICE 

1.  Originate  a  new  weave  with  the  regular  twill  as  a  founda¬ 
tion  weave. 

2.  Originate  a  new  weave  with  the  ^3  regular  twill  as  a  foundation 
weave. 

3.  Originate  a  new  weave  with  the  3a2i  regular  twill  as  a  founda¬ 
tion  weave. 


§77 


COMBINATION  WEAVES 


27 


4.  Originate  a  new  weave  with  the  warp-  and  filling-flush  broken 
crow  weaves  as  foundation  weaves. 

5.  Originate  a  new  weave  with  the  warp-  and  filling-flush  5-end 
satin  weaves  as  foundation  weaves. 


CONSTRUCTION  OF  SPOT 
WEAVES 


SPOT  WEAVES  FORMED  WITH  ONE 
SYSTEM  OF  WARP  AND  FILLING 


WARP-SPOT  WEAVES 


1.  Weaves  that  produce  fabrics  of  a  spotted  character, 
that  is,  cloths  with  spots  distributed  over  the  face,  are  known 
as  spot  weaves.  These  weaves  are  formed  by  bringing  a 
certain  series  of  yarn,  either  the  warp  or  the  filling,  to  the 
surface  of  the  cloth  at  certain  points  and  allowing  it  to  float 
for  a  number  of  ends  or  picks,  as  the  case  may  be,  thus  pro¬ 
ducing  a  spotted  effect  on  the  cloth.  The  manner  in  which 
the  yarn  is  allowed  to  float  on  the  face  will  determine  the 
shape  and  appearance  of  the  spot,  and  the  places  where  these 
floats  are  made  will  determine  the  arrangement,  or  distribu¬ 
tion,  of  the  spots  on  the  surface  of  the  fabric.  Spots  may  be 
made  by  floating  either  the  warp  or  the  filling  on  the  face  of 
the  cloth;  the  former  are  known  as  warp  spots,  and  the 
latter,  as  filling  spots. 

The  first  consideration  when  making  a  spot  weave  is  the 
arrangement,  or  order  of  distribution,  of  the  spots  on  the  sur¬ 
face  of  the  cloth.  Spots  may  be  arranged  in  plain  order, 
satin  order,  broken  crow  order,  etc.;  by  this  is  meant  that 
the  spots  appear  on  the  surface  of  the  cloth  in  the  same 
order  that  the  ends  are  either  raised  or  depressed  in  a  plain, 
satin,  or  broken  crow  weave,  as  the  case  may  be.  For 

For  notice  of  copyright,  see  page  immediately  following  the  title  page 
l  78 


2 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


example,  if  spots  are  distributed  over  the  surface  of  a  fabric 
in  the  same  relative  position  to  one  another  as  the  risers  of 
the  plain  weave,  they  are  said  to  be  arranged  in  plain  order, 
or  if  they  are  distributed  in  the  same  order  as  the  risers  of 
the  5-end,  filling-flush,  satin  weave,  they  are  said  to  be 
arranged  in  5-end  satin  order,  etc. 

2.  To  illustrate  the  method  of  producing  spot  weaves, 
suppose  that  it  is  desired  to  make  a  warp-spot  weave  on 
8  ends  and  8  picks,  the  spots  to  be  arranged  in  plain  order. 
Since  the  spots  are  to  be  arranged  in  plain  order,  there  will 
be  two  spots  in  each  repeat  of  the  weave,  just  as  there  are 
two  risers  in  one  repeat  of  the  plain  weave,  and  the  8  ends 
and  8  picks  on  which  the  whole  weave  is  to  be  complete 
must  first  be  divided  into  four  sections,  each  containing  six¬ 
teen  small  squares  of  the  design  paper.  Fig.  1  (a)  represents 


{a)  (b)  (c)  (a) 

Fig.  1 


8  ends  and  8  picks  of  design  paper  thus  divided  by  heavy 
dotted  lines.  Since  the  spots  when  arranged  in  plain-cloth 
order  appear  on  the  face  of  the  cloth  in  a  manner  similar  to 
the  ends  in  a  plain  weave,  the  two  spots  may  be  placed  in 
sections  a,  alt  while  sections^,  bl  are  reserved  for  the  ground 
weave. 

Before  placing  the  spots  in  their  respective  sections,  it  is 
best  to  mark  one  of  the  small  squares  in  each  section  in 
which  the  spots  are  to  be  placed,  these  marks  to  be  placed 
in  squares  having  the  same  relative  position  in  each  section. 
Thus,  in  Fig.  1  (a),  one  square  of  section  a  and  one  of  al 
have  been  filled  in.  It  is  next  necessary  to  determine  the 
spot  figure  to  be  used,  as  a  spot  must  be  selected  that  does 
not  occupy  so  many  ends  and  picks  that  two  of  the  spots  will 
run  into  each  other.  Since  in  this  case  the  entire  weave  is 


§78  CONSTRUCTION  OF  SPOT  WEAVES 


3 


to  be  complete  on  8  ends  and  8  picks,  the  spot  figure  cannot 
occupy  many  ends  and  picks,  and  therefore  a  simple  figure 
similar  to  that  shown  in  Fig.  1  (£)  must  be  selected. 

Although  it  is  not  necessary  to  start  the  spot  weave  on 
any  particular  end  or  pick,  it  must  be  commenced  on  the 
same  relative  end  and  pick  in  both  sections  a  and  al,  Fig.  1  (a) . 
This  is  the  object  of  the  filled-in  squares  in  each  of  these 
sections;  that  is,  to  give  a  starting  point  when  placing  the 
spot  figure  on  the  design  paper,  so  that  each  spot  will  occupy 
the  same  relative  position  in  its  section.  For  example,  sup¬ 
pose  that  the  lowest  square  of  the  spot  is  to  occupy  the 
square  that  is  marked  in  section  a,  Fig.  1  (a).  Then,  if  this 
is  done  in  section  a ,  it  must  also  be  done  when  placing  the 
spot  in  section  al}  and  by  so  doing  the  spots  will  have  the 
same  relative  position  in  the  weave  and  be  equally  dis¬ 
tant  from  each  other;  by  marking  certain  squares  as  in 
Fig.  1  (a),  the  correct  position  of  the  different  spots  is 
readily  obtained.  It  next  becomes  necessary  to  place  the 
spots  on  the  design  paper.  The  method  spoken  of,  that  is, 
considering  the  squares  marked  in  Fig.  1  ( a )  as  the  lowest 
marked  square  of  the  spot,  will  be  adopted  in  placing  this 
spot  on  the  design  paper.  Fig.  1  (c)  shows  the  spot  figure 
placed  on  the  design  paper  in  this  manner;  each  spot  occupies 
the  same  relative  position  in  the  section  in  which  it  is  placed, 
and  if  three  or  four  repeats  of  this  figure  in  both  ends  and 
picks  are  worked  out,  it  will  also  be  apparent  that  there  is 
the  same  distance  between  the  spots. 

3.  After  the  spots  have  been  placed  on  the  design  paper, 
as  shown  in  Fig.  1  (c) ,  the  blank  spaces  must  be  filled  in 
with  some  simple  weave,  known  as  the  ground  weave,  in 
order  to  give  the  fabric  the  required  firmness  of  texture.  It 
would  be  impossible  to  construct  a  fabric  exactly  as  shown 
in  Fig.  1  (c),  since  the  fourth  and  eighth  ends  and  picks  are 
not  interlaced  with  the  fabric,  and  even  if  the  fabric  could  be 
thus  woven  it  would  be  too  loosely  constructed  to  be  service¬ 
able.  When  selecting  a  ground  weave  to  be  used  with  a  spot 
figure,  a  weave  should  be  selected  that  will  match  up  well 
92—15 


4 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


with  the  spot;  that  is,  one  that  will  not  allow  large  floats  of 
warp  or  filling  in  any  part  of  the  cloth.  The  most  useful 
weaves  for  this  purpose  are  the  plain  weave,  the  twills,  and 
satins.  A  small,  simple,  and  regular  weave  can  generally  be 
used  to  the  best  advantage  as  a  ground  weave,  and  should 
therefore  be  selected.  It  is  not  always  possible  to  find  a 
weave  that  will  neither  run  into  the  spot  figure  nor  leave 
a  larger  float  in  some  places  than  in  others.  In  the  example 
under  consideration,  it  will  be  assumed  that  the  plain  weave 
is  to  be  used  for  the  ground  weave. 

In  placing  the  ground  weave  in  a  design  of  this  kind,  the 
first  square  to  be  marked  with  a  riser  should  always  be  care¬ 
fully  selected.  Thus,  for  example,  with  the  illustration  being 
used,  suppose  that  the  first  riser  of  the  plain  weave  were 
marked  in  the  upper  right-hand  corner  of  Fig.  1  ( c );  then  the 
next  riser  would  come  in  contact  with  a  riser  in  the  spot, 
which  should  always  be  avoided,  if  possible,  while,  on  the 
other  hand,  if  this  next  square  were  skipped  without  being 
marked,  there  would  be  a  float  at  this  point  longer  than  the 
average  float  in  the  rest  of  the  ground  weave.  However,  by 
beginning  the  plain  weave  in  the  upper  left-hand  corner  and 
marking  this  square  with  a  riser,  the  ground  weave  will  not 
interfere  in  any  way  with  the  spots.  Fig.  1  (d)  shows  the 
completed  weave  with  the  ground  inserted  in  this  manner;  in 
no  place  does  the  plain  weave  run  into  the  spot,  and  the  floats 
of  both  warp  and  filling  are  of  an  equal  length  in  the  ground. 

When  spots  are  placed  on  a  plain  ground,  it  will  often  be 
found  necessary  to  move  one  or  more  spots  1  end  or  1  pick 
out  of  position,  in  order  to  make  the  plain  weave  join 
the  spot  in  the  proper  manner.  This  is  always  advisable 
when  the  spots  are  placed  some  distance  apart,  since  a  slight 
displacement  of  the  spot  will  hardly  be  noticed,  while,  if  the 
ground  weave  does  not  join  the  spot  properly,  the  entire 
design  is  spoiled.  Fig.  1  (d)  serves  as  an  illustration  of  the 
manner  of  constructing  spot  weaves  rather  than  as  an  espe¬ 
cially  meritorious  example  of  such  weaves;  for,  since  it  is 
complete  on  8  ends  and  8  picks,  and  since  two  spots  have  to 
be  placed  in  this  space,  it  is  not  possible  for  the  spots  to 


78 


CONSTRUCTION  OF  SPOT  WEAVES 


5 


occupy  a  very  large  number  of  ends  and  picks,  while  in  order 
to  have  a  spot  weave  appear  well  in  the  cloth,  the  spot  figure 
should  occupy  a  comparatively  large  number  of  ends  and 
picks.  Most  spot  weaves  will,  consequently,  be  found  to 
extend  for  some  distance  before  repeating.  It  will  also  be 
noted  that  in  many  of  the  spot  weaves  shown  in  this  Section 
the  spots  are  placed  comparatively  close  together,  but  spot 
weaves  are  often  arranged  with  the  spots  a  considerable 
distance  apart.  The  same  principles  of  construction  apply, 
however,  as  are  herein  described,  and  it  is  only  necessary  to 
insert  as  many  ends  and  picks  of  the  ground  weave  as  desired 
between  the  spots  in  order  to  distribute  them  any  required 
distance  apart  on  the  face  of  the  cloth. 

4.  As  a  further  illustration  of  the  method  of  constructing 
spot  weaves,  suppose  that  it  is  desired  to  construct  a  spot 
weave  on  20  ends  and  20  picks  and  that  the  spots  are  to  be 
arranged  in  5-end  satin  order.  This  will  necessitate  five  spots 
being  placed  in  one  repeat  of  the  weave,  and  therefore  the 
design  paper  containing  the  squares  on  which  the  complete 
weave  is  to  be  placed  must  first  be  divided  into  five  sections 
each  way,  thus  producing  twenty-five  sections  in  all,  as 
shown  in  Fig.  2  (a).  In  this  illustration  heavy  dotted  lines 
are  used  to  separate  the  sections,  and  as  certain  of  these 
lines  coincide  with  the  heavy  lines  of  the  design  paper,  the 
latter  have  been  omitted.  In  practice,  pencil  lines  may  be 
used  to  divide  the  design  paper  into  sections,  as  they  may  be 
made  more  quickly,  and  the  only  purpose  is  to  divide  the 
weave  into  imaginary  sections.  In  Fig.  2  (a)  certain  of  the 
sections,  taken  in  5-end  satin  order,  have  each  been  marked 
with  a  small  square. 

The  next  thing  to  be  considered  is  the  spot  that  will  be 
placed  on  the  design,  as  one  must  be  selected  that  will  not  be 
so  large  as  to  interfere  with  other  spots  nor  so  small  as  to  be 
obscure  when  the  fabric  is  woven.  It  will  be  assumed  that 
the  spot  shown  in  Fig.  2  (b)  is  to  be  used.  The  spots  must  be 
placed  on  the  design  paper  in  such  a  manner  that  they  will  be 
arranged  in  satin  order,  and  be  equally  distant  from  each 


6 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


other.  By  taking  as  a  guide  on  which  to  build  these  spot 
figures  the  marked  squares  of  Fig.  2  {a) ,  which  were  placed  on 
the  sections  in  satin  order,  the  desired  result  will  be  obtained. 

It  will  be  assumed  that  the  squares  marked  in  Fig.  2  (a) 
represent  the  topmost  riser  of  the  spot  shown  in  Fig.  2  ( 6); 


(c)  (d) 

Fig.  2 


then  completing  each  spot,  the  5-end  satin  arrangement  of 
the  spots  shown  in  Fig.  2  (c)  is  obtained.  The  plain  weave 
makes  a  very  suitable  ground  weave  for  this  design,  and 
by  inserting  it  properly,  the  completed  design  shown  in 
Fig.  2  (d)  is  obtained. 

5.  As  another  example  of  spot-weave  construction,  sup¬ 
pose  that  it  is  desired  to  construct  a  spot  weave  on  24  ends 
and  24  picks,  the  spots  to  be  arranged  in  broken  crow  order, 


§78 


CONSTRUCTION  OF  SPOT  WEAVES 


7 


which  will  give  four  spots  in  each  repeat  of  the  weave. 
Fig.  3  (a)  shows  the  design  paper  divided  into  sections  after 
the  manner  previously  explained.  Small  squares  are  also 
marked  in  certain  sections,  arranged  in  broken  crow  order, 
to  indicate  the  positions  of  the  spot  figures.  Fig.  3  ( b ) 


shows  the  spot  figure  that  is  to  be  used,  a  small  square  in 
the  center  of  the  spot  having  been  marked  with  a  cross.  It 
is  intended  that  this  square  shall  fall  on  the  marked  squares 
in  Fig.  3  ( a )  when  the  spots  are  inserted  in  the  design. 


8 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


Fig.  3  (r)  shows  the  spot  inserted;  two  of  the  spots  are 
twilled  to  the  right  and  two  to  the  left,  for  if  all  four  of  the 
spots  were  twilled  in  the  same  direction,  two  of  the  spots 
would  necessarily  run  together,  owing  to  their  elongated 
shape.  Fig.  3  ( d )  shows  the  completed  design  with  the  plain 


weave  inserted  as  a 

■■□■■■□□l□□0□■□□0l□□□□0□□□l■ 

ooaaanmo 

oaamaaoa 

maoaomno 

nnmoooom 

□□□□»□□□ 

■□□□□□0D 

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□□□□■□□□ 

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aomaaaam 

□□□□0DBD 

□0DDDBBB 

□□□□BBDB 

moaaoaaa 

|-j  gLUUllU  WcdVc. 

□  6.  Various  weaves 

□  other  than  the  plain 

□  weave  may  be  used  as 

aaamoaaa 
■  □□□□!!□■ 

□□□□□■■□ 

□□□■■■□■ 

□□□□■■■□ 

□■□□□□■□ 

imnunann 

□□□□□BOD 

□□□□■■■□ 

□□□■□■■■ 

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□□BBBDBD 

□□□BBBDB 

□0DDBBBB 

onnmnaaa 

maaoaaaa 

oaaomoDO 

BBBDDD0D 

|  ground  weaves.  Fig.  4 
"  is  given  as  an  example 
j=j  of  another  type  of 
§  ground  weave.  It  is  a 

□□□□!!□■■ 

amaonooa 

oonmnnnn 

maaanmnn 

oaaaooam 

■□□□□□□■ 

oooMooao 

illZHZHZHZIBBB 

□crancoBB 

□□□□son b 
nmnnnnmn 
nnnmonnn 
mnncnwnn 

BDBBDDDD 

BBBDBDDD 

□■□BBBDB 

■□■■■□□□ 

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■■■□□□□□ 

aaaoomaa 

aomooona 

g  spot  weave  on  25  ends 

□  and  25  picks,  having  the 

□  5-end  filling  satin  weave 
e  as  a  ground  weave  and 

witn  tne  spots  arranged 
Fig-  4  . 

in  5-end  satin  order.  In 

this  design,  wherever  a  riser  of  the  ground  would  come  in 
such  a  position  as  to  interfere  with  the  spot  figure,  that  riser 
has  been  omitted.  A  plain  ground  could  not  be  used  in  this 
design,  because  it  would  not  match  up  well  with  every  spot, 
and  also  because  the  weave  repeats  on  an  odd  number  of 
ends  and  picks. 


FILEING-SPOT  WEAVES 

7.  In  constructing  filling-spot  weaves,  the  arrangement 
of  the  spots  on  the  surface  of  the  cloth  is  determined  in 
exactly  the  same  manner  as  described  in  connection  with 
warp-spot  weaves;  in  fact,  the  construction  of  a  filling-spot 
weave  very  closely  resembles  that  of  a  warp-spot  weave  with 
the  single  exception  that  in  the  former  the  filling  floats  on 
the  surface  of  the  cloth  to  form  the  spots,  instead  of  the  warp, 
as  in  the  latter.  To  illustrate  the  construction  of  filling-spot 
weaves,  suppose  that  it  is  desired  to  construct  a  spot  weave 


§78 


CONSTRUCTION  OF  SPOT  WEAVES 


9 


similar  to  that  shown  in  Fig.  1  (d) ,  with  the  exception  that 
the  spots  are  to  be  formed  by  the  filling  floating  on  the  face 
of  the  cloth  instead  of  the  warp.  In  constructing  this  weave, 
wherever  the  spots  are  to  appear  on  the  cloth  the  warp  must 
be  depressed,  so  as  to  allow  the  spots  to  be  formed  by  the 
filling  floating,  as  shown  in  Fig.  5,  and  the  spot  is  shown  by 
blank  squares  instead  of  filled  squares,  as  in 
the  case  of  Fig.  1  (d),  on  this  account.  When 
inserting  the  ground  weave  in  filling-spot 
designs,  care  should  be  taken  to  have  the  warp 
flushes  of  the  ground  weave  oppose  the  filling 
flushes  of  the  spot  at  every  point  so  that  the 
filling  will  not  float  over  more  ends  than  is 
desired  to  form  the  spots.  In  Fig.  5  the  plain  weave  has  been 
used  as  a  ground  weave  and  the  risers  of  the  ground  weave 
completely  encircle  the  filling  flushes  that  form  the  spots. 

As  another  illustration  of  the  construction  of  spot  weaves, 
suppose  that  it  is  desired  to  convert  the  warp-spot  weave 

shown  in  Fig.  2  (d)  into  a 
filling-spot  weave,  retaining 
the  same  arrangement  of  the 
spots.  Fig.  6  shows  this 
weave  complete,  the  spots 
being  shown  with  blank 
squares,  thus  indicating  that 
the  warp  is  depressed  and  the 
filling  raised,  and  therefore  that 
the  filling  flushes  form  the 
spots  on  the  face  of  the  cloth. 
The  plain  weave  has  been  used 
for  a  ground  weave  in  this 
design,  and  the  warp  flushes  of  the  ground  weave  oppose  the 
filling  flushes  on  all  sides  of  the  spots,  as  previously  explained. 

8.  Very  neat  effects  may  be  formed  in  filling-spot  weaves 
by  using  corkscrew  or  cord  weaves  as  ground  weaves,  since 
both  warp-corkscrew  and  warp-cord  weaves  show  only  warp 
on  the  face,  or  for  that  matter  on  the  back  of  the  cloth. 


□□□□□sns 

□SDSDSD11 

□hot 

muuuwoMU 

muuumnmu 

maun 

□SDSDSD0 

naaaamam 

umum 

womuwomn 

oomaooma 

muwn 

□llDSDSDSi 

onnonmom 

umom 

wmumuwu 

moaomama 

mono 

□SDllDlinS 

□□□□ 

□□SDSDSD 

mamamama 

□SDSDSDIf 

□imiiiiiiiiiiiii 

□□□□ 

muwomuuu 

iinsniioiin 

wonu 

amamonoo 

nininani 

nwom 

womuuum  □ 

namomamo 

umnwunoa 

nwomnwom 

UWOM 

unuuMou □ 

SDSDSDDn 

UlllilO 

□sniinsnii 

umomuuuu 

□ncra 

mumnnnmu 

mumnuum □ 

□SDSDSOI1 

umumuuu □ 

□nr® 

maaamamo 

mnmnwonn 

scran 

□□□□□SDS 

uwomuwom 

□sera 

oomoaoma 

mumumnmn 

WOMU 

Fig.  6 


Fig.  5 


10 


CONSTRUCTION  OF  SPOT  WEAVES 


78 


Filling  spots  may  be  made  by  allowing  the  filling  to  flush 
over  a  number  of  ends,  and  by  having  the  warp  of  one  color 
of  yarn  and  the  filling  of  another,  a  spot  of  a  distinct 
color  from  the  body  of  the  cloth  may  be  made;  that  is,  the 
contrast  between  the  color  of  the  spot  and  the  color  of  the 
ground  is  greater,  because  with  warp  corkscrews  or  cords  as 
ground  weaves  the  interlacings  of  the  filling  with  the  warp  in 
the  ground  of  the  cloth  do  not  show.  Fig.  7  shows  a  weave 
constructed  by  this  method  in  which  a  7-end  warp  cork¬ 
screw  has  been  used  as  a  ground  weave  and  the  spots  formed 

f  the  cloth.  In  con¬ 
structing  weaves  of 
this  type,  the  best 
method  of  pro¬ 
cedure  is  first  to 
place  the  corkscrew 
or  cord  weave  on 
the  desired  number 
of  ends  and  picks, 
after  which  the  spots 
may  be  made  by 
erasing  certain  of 
the  risers  of  the 
ground  weave  wher¬ 
ever  it  is  desired  to 
have  a  spot  appear 
on  the  surface  of  the 
cloth.  The  number 
of  risers  that  are  erased  will  of  course  determine  the  extent 
of  the  individual  spot.  In  constructing  these  weaves,  it  is 
very  important  that  the  warp  flushes  of  corkscrew  weave 
shall  oppose  the  filling  flushes  on  both  sides  of  the  spot. 
This  has  been  done  in  Fig.  7;  thus,  considering  the  spot  in 
the  lower  left-hand  corner,  on  the  eighth  pick  the  third  end  is 
up  and  the  fourth  end  down  to  form  the  spot,  on  the  second 
end  the  filling  that  forms  the  spot  flushes  on  the  fifth,  sixth, 
and  seventh  picks,  while  the  warp  flushes  of  the  first  end 
occur  on  these  same  picks.  Again  the  filling  flushes  that 


by  flushing  the  filling 

on  the  surface 

0D0D0D00 

nmnmnmmn 

mnmnmmnm 

nmnm 

0D0D00D0 

□0D00D0  □ 

mnmwnwnw 

□00  □ 

mnmmnmnm 

□  0HMD0D 

00D0D0D0 

0D0D 

mmnwnwnm 

mnmnmnmm 

OMOl 1D00D 

noun 

nmnmnmmn 

WCmOMWOM 

WOMU 

nmnmmnwn 

0D00D0D0 

00D0 

□00D0D0D 

00D0D0D0 

mnnnnnmm 

nmnm 

wnwnmnwM 

□0D0D00D 

□□□□□□□a 

nmnm 

0D0D00D0 

□0D00D0D 

nmmn 

mnmmnmnm 

□00D0D0D 

□□□□□□□0 

mnmn 

00n0D0D0 

0D0D0D00 

□□□□□□□□ 

0D0D 

nmnmnmmn 

mnmnmmnm 

□□□□□□□□ 

0D00 

WOMWOMOM 

□□□□□□□□ 

mmnm 

□00D0D0D 

00D0D0D0 

mnnnnnmm 

□0D0 

mnmnmnmm 

nmnmnmm □ 

0D0D00D0 

□0D0 

0D0D00D0 

nmnmmnmn 

MOMWnWOW 

nmmn 

mnmmnmnm 

□nnnunii  □ 

WWnmnmnm 

mnmn 

00D0D0D0 

WnmnmnWM 

□0D0D00D 

mnmn 

nmnmnmmn 

WOMUWMOM 

omowwow □ 

mnmm 

nmnmmnmn 

WOMWOMQM 

nmmnmnmn 

00D0 

nmmnnnnn 

mmnm  □soil 

0D0D0D00 

□0D0 

0DDDDDD □ 

□0D0D00D 

0D0D00D0 

□0D0 

mnnnnnnn 

0D00D0D0 

□00D 

mnnnnnnn 

nmmnmnmn 

00D0D0D0 

mnmn 

mmnnnnnn 

□□0D0D00 

□0D0D00D 

mnmn 

□  !!□□□□□□ 

□□0D00D0 

□0D00D0D 

0D00 

nmnnnnnn 

□□00D0D0 

□00D0D0D 

00D0 

nmmnnnnn 

00D0D0D0 

mnmnmnmm 

nmnm 

Fig.  7 


78 


CONSTRUCTION  OF  SPOT  WEAVES 


11 


form  the  spot  cover  the  third  end  on  the  second,  third,  and 
fourth  picks,  while  the  second  end  is  up  on  the  same  picks, 
etc.  Warp-spot  weaves  may  be  made  with  corkscrew  or  cord 
weaves  as  ground  weaves  in  a  similar  manner  to  filling-spot 
weaves.  In  this  case,  however,  filling-corkscrew  or  filling- 
cord  weaves  are  used  as  the  ground  weave  and  the  spots  pro¬ 
duced  by  raising  certain  ends  on  as  many  picks  as  desired  so 
as  to  form  the  spots.  _ 

EXAMPLES  FOR  PRACTICE 

1.  Make  a  warp-spot  weave  on  24  ends  and  24  picks,  using  the 
plain  weave  as  a  ground  weave  and  arranging  the  spot  shown  in 
Fig.  1  (6)  in  8-end  satin  order. 

2.  Arrange  the  spot  shown  in  Fig.  2  ( b )  in  plain  order  on  18  ends 
and  18  picks  and  insert  the  plain  weave  as  a  ground  weave. 

3.  Make  an  original  warp-spot  weave  on  24  ends  and  24  picks  with 
the  spot  figures  arranged  in  6-end  satin  order. 

4.  Make  a  filling-spot  weave  on  28  ends  and  28  picks,  arranging 
the  spots  in  plain  order. 

5.  Arrange  the  spot  shown  in  Fig.  3  ( b )  in  plain  order,  twilling 
one  spot  to  the  right  and  the  other  to  the  left.  Make  the  weave  repeat 
on  16  ends  and  16  picks  and  insert  the  plain  weave  as  a  ground  weave. 


SPOT  WEAVES  FORMED  WITH  AN  EXTRA 
SYSTEM  OF  YARN 


SPOT  EFFECTS  WITH  EXTRA  WARP 

9.  In  many  fabrics  of  a  spotted  character,  the  ground  is 
woven  with  one  warp  and  one  filling,  and  the  spots,  which 
are  generally  of  a  different  color  from  the  ground,  are  pro¬ 
duced  by  the  use  of  an  extra,  or  figuring,  warp  or  filling,  or 
both.  In  these  cloths,  the  ground,  or  body,  of  the  fabric  is 
produced  in  the  ordinary  manner,  while  the  extra  system  of 
yarn,  either  warp  or  filling,  that  produces  the  spot  figures  is 
allowed  to  float  at  the  back  of  the  cloth  except  at  those  places 
where  the  spots  occur,  where  it  floats  on  the  face  in  such  a 
manner  as  to  produce  a  spot  of  the  required  shape  and  size. 

10.  Suppose  that  it  is  desired  to  construct  a  spotted 
fabric  with  the  spots  produced  by  an  extra  system  of  warp 


12 


CONSTRUCTION  OF  SPOT  WEAVES 


78 


yarn.  In  producing  a  design  of  this  character,  the  first  step 
is  to  decide  on  the  spot  figure  that  is  to  be  used,  and  the 
arrangement  of  the  spots  on  the  surface  of  the  cloth.  Fig.  8 
(a)  shows  a  spot  figure  arranged  in  5-end  satin  order,  which, 
for  the  purpose  of  illustration,  will  be  converted  into  an 
extra-warp  spot  design.  It  is  constructed  after  the  manner 
of  the  spot  weaves  previously  described,  except  that  the 
ground  weave  is  omitted.  The  first  step  in  arranging  this 
spot  for  extra  warp  is  to  separate  the  ends  of  the  spot 
design,  as  shown  in  Fig.  8  (a),  by  blank  ends,  as  shown 
in  Fig.  8  (b) .  That  is,  in  Fig.  8  {b)  each  end  of  Fig.  8  (a) 
is  copied,  but  is  placed  on  an  odd-numbered  end  of  Fig.  8  {b), 
the  even-numbered  ends  being  left  blank  for  the  reception 
of  the  ground  weave.  The  completed  weave  for  an  extra¬ 
warp  fabric  of  this  type  will  require  twice  as  many  ends  and 
the  same  number  of  picks  as  the  spot  arrangement;  that  is, 
Fig.  8  (a)  occupies  20  ends  and  20  picks,  while  Fig.  8  (b) 
occupies  40  ends  and  20  picks.  The  next  step  is  to  insert 
the  ground  weave,  which  forms  the  body  of  the  cloth;  in 
this  case,  the  cassimere  twill,  Fig.  8  (c) ,  will  be  used.  The 
ground  weave  is  inserted  on  the  ends  of  Fig.  8  (b)  that  were 
left  blank,  or,  in  this  case,  the  even-numbered  ends,  as 
shown  in  Fig.  8  (d) ,  which  is  the  completed  design.  If  this 
weave  is  warped  1  end  of  white  and  1  end  of  green  through¬ 
out  the  warp,  and  a  solid-green  filling  used,  it  will  be  seen 
that  white  spots  arranged  as  in  Fig.  8  (a)  will  be  produced 
on  the  surface  of  a  solid-green  twilled  fabric.  The  extra,  or 
white,  warp  floats  on  the  face  only  to  form  the  spot,  and 
when  not  producing  the  spot  is  carried  to  the  back  of  the 
fabric.  The  green,  or  body,  warp,  however,  is  interlaced 
with  the  filling  as  a  cassimere  twill  to  form  the  ground 
fabric  on  which  the  white  spots  are  arranged.  Since  the 
extra,  or  figuring,  warp  interlaces  so  infrequently  with 
the  filling,  it  takes  no  part  in  forming  the  structure,  or  body, 
of  the  cloth;  the  ground  ends,  being  crowded  together  by 
the  interlacing  of  the  filling,  throw  the  extra-warp  ends  up 
on  the  face  to  form  the  spot  when  these  ends  are  raised 
and  force  them  to  the  back  when  they  are  depressed.  Care 


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(a) 


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□  □□□□□□□; 

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aanDDmn 

□□□□□□□□ 

■■■□□□□□ 

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(6) 

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□□□□□□□□ 

□□□□□□□□ 

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□□□□MOD 

□□□□□ran 

□□□□□□nn 

□□□□rara 

nmnnnnnm 
mnnnnmnm 
mnmmnmnn 
mmmmmnn  □ 

iMCD 

□□□□ 

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□□□□ 

□□nn 

□□□□ 

mnnm 

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(c) 

mmmnmnmm 

nnmmmmm n 
nmnmmnmn 

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■■■□ 

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nmnnnnnm 

□□□□B^BH 

nnmmmmmn 

mmmmmnmn 

mmmnmnnm 

mnmnmmnm 

mnmmnmnn 

mmnmnnnn 

nmnnnnnm 

nnnnnmnm 

nnnmnmnn 

nmnmnnnn 

nnnnmmmm 
nnmmmmm □ 

mmmmmom □ 
mmmamamm 

mtmommmm 

nnmmmmm □ 
nmnmmnmn 

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nmnmmnmn 

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mnmmnmnn 

mmmmmnnn 

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mmmnmnmm 

mnmnmmmm 

nnmmmmmn 

nmnmmnmn 

nmnnnnnm 

mnnnnmnm 

mnmmnmnn 

mmmmmnnn 

mmmnmnnm 

mnmnmmnm 

mnmmnmnn 

mmnmnnnn 

nmnnnnnm 

nnnnnmnm 

nnnmnmnn 

nmnmnnnn 

nmnnnnnm 

nnnnmmmm 

nnmmmmmn 

mmmmmnmn 

mmmnmnmm 

mnmnmmmm 

nnmmmmmn 

nmnmmnmn 

nmnnnn^^ 

mnnnnmnm 

mnmmnmnn 

mmmmmnnn 

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id) 

Fig.  8 


14 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


must  be  taken  in  selecting  a  ground  weave  for  these  fabrics 
to  select  a  weave  that  will  repeat  evenly  on  the  number  of 
ends  and  picks  that  is  occupied  by  the  spot  arrangement;  that 
is,  it  must  repeat  evenly  on  the  same  number  of  picks  and  one- 
half  the  number  of  ends  that  the  completed  weave  occupies. 

11.  Tying. — It  frequently  happens  in  the  case  of  very 
thin  fabrics  that  the  extra  warp  when  carried  to  the  back  of 
the  fabric  will  show  through  on  the  face,  especially  if  the 
ground  cloth  is  of  a  light  color  and  the  figuring  warp  dark, 
or  vice  versa.  When  this  is  the  case,  the  loose  floats  of  the 
extra  warp  must  be  cut  from  the  back  of  the  fabric,  but  if 
this  is  done,  the  weave  must  be  arranged  so  that  the  spots 
will  be  firmly  bound  to  the  cloth.  In  the  case  of  Fig.  8  (d) , 
if  the  floats  of  the  extra  warp  on  the  back  of  the  cloth  wore 
cut  off  close,  there  would  be  nothing  to  attach  the  face  floats 
of  extra  warp  to  the  cloth,  since  the  extra  warp  is  only 
passed  from  the  face  to  the  back  without  other  interlacing 
with  the  filling.  Therefore,  such  a  fabric  would  not  be 
serviceable,  since  the  spots  would  easily  rub  and  wear  off. 
To  remedy  this  fault,  it  is  customary,  when  the  figuring  warp 
is  to  be  cut  from  the  back  of  the  cloth,  to  bind  each  float  of 
the  extra  warp  on  the  face  by  passing  it  under  1  pick  and 
over  1  pick  of  the  ground  before  passing  it  finally  to  the 
back  of  the  cloth.  This  extra  binding  at  the  edge  of  the 
spots  prevents  the  floats  of  the  extra  warp  on  the  face  from 
being  too  easily  rubbed  off  after  the  floats  at  the  back  of  the 
cloth  have  been  cut  and  removed. 

Fig.  9  (a)  shows  an  arrangement  of  spot  figures  in  plain 
order,  while  Fig.  9  ( b )  shows  these  spots  arranged  as  an 
extra-warp  design  with  each  face  float  of  the  extra  warp  bound 
to  the  cloth  by  passing  it  under  and  over  the  filling  before 
finally  allowing  it  to  float  on  the  back  of  the  fabric.  The 
ground  weave  in  this  case  is  the  plain  weave. 

In  some  cases  it  is  not  desired  to  cut  the  extra-warp  floats 
from  the  back  of  the  cloth,  and  yet  the  spots  are  so  far  apart 
on  the  face  that  the  floats  on  the  back  are  so  long  as  to  be 
very  loose.  When  this  is  the  case,  the  extra  warp  is  usually 


78 


CONSTRUCTION  OP  SPOT  WEAVES 


15 


tied  to  the  ground  cloth  by  being  raised  over  a  single  pick  of 
the  ground  weave  at  a  point  approximately  half  way  between 
the  spots,  that  is,  in  the  center  of  the  float  on  the  back,  or 
perhaps  the  float  may  be  tied  twice  or  even  oftener  between 


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□□□□□□■□ 

□□□□□■■■ 

□□□□■■■a 

□□□□□BBB 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

!□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

Bannmnn 

BBnnnaan 

□□□□□■□□ 

□□■■■■■□ 

□■■■■■□□ 

■■■■■□□□ 

□□■□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

(a) 

mnmnmnmn 

□□□□□□□□ 

□bdbdbdb 

□□□□□□□□ 

BaBOBOBn 

□□□□□□□□ 

□bobobob 

□□□□□□□□ 

SDDUSDDl! 

nmiEoomoo 

□□□HCOCM 

omnoomno 
oodbooob 
nmuanm □□ 
ooomoDom 
amaaama □ 

□□□□□□in 

□BQBOBDB 

□□□□□□□® 

bobobdbd 

□nniin®nB 

boboudbo 

□bdbqbob 

nnomo onm 
obooobod 

DDOmDOtEB 

omonsmoo 

oosmooaB 

a^nnB^Bn 

unamanam 

amanaman 

□□□HQllOll 

amoomamo 

uuuMuwom 

aUDDUDIO 

□□am mom 
a manmnmu 
an amnmum 

BUDDUniin 

bobobobd 
□□□□□□□a 
□nimi  cmcm 
□□□□□□an 

BOBOBOBO 

□□□□□□□® 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□UnUDDBH 

mumnamau 

□HQUODBI! 

mnmo  iebod 
□ununn  a® 
H OBOOBOO 
DBOBOODB 
ununnuQD 

aoamaaam 

BBBOBOnD 
aoamnosm 
aBOOBBnn 
□□® mnoum 

SBOOOBOO 

onomoonB 

obooobdd 

□□aiOEinil 

tEBDDBOBO 

anawnmnm 

OBOOBDBO 

uunmumum 

umnuwnmu 

□□□uniiDii 

umuunnmu 

aaHHBDQB 
ommommm □ 

mommmamm 

ammammma 
® nnmmamm 
nm®aawma 
nnnwMjn® 
nmnoomo 

soomooom 
omtsoomno 
anomsoom 
mmmnam® □ 
mammmaam 

mnamauum 

omaoamtEo 

bobobobd 

□□□□□□□□ 

□BOBOBOB 

□□□□□□□□ 

BOBOBOBD 

□BOBDBDB 

BDBQBQBD 

□BDBQBDB 

BDBQBQBn 

□□□□□□□□ 

□BDBDBnB 

□□□□□□□□ 

BDBDBDBQ 

□□□□□□□□ 

□BOBOBOB 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□HDBOBDII 

BQBDBD11Q 

□BQBQBnB 

(b) 


Fig.  9 

the  spots.  In  arranging  these  tying  places,  care  should  be 
taken  to  bring  the  extra  warp  up  on  a  pick  that  has  a  ground- 
warp  end  on  each  side  also  raised  over  it.  These  floats  of 
the  ground  ends  will  then  crowd  together  and  completely 


16 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


hide  the  tying  place  of  the  extra  warp.  To  illustrate  this 
point,  Fig.  10  ( a )  shows  an  elliptical  spot  arranged  in  plain 
order,  while  Fig.  10  ( b )  shows  the  same  design  arranged  for 
extra  warp,  with  the  extra  warp  tied  into  the  cloth.  Particu¬ 
lar  attention  should  be  paid  to  the  position  of  the  tying 


□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

Fig.  10  (a) 


places,  since  the  extra  warp  is  raised  in  each  instance 
between  two  warp  floats  of  the  ground  weave  and  as  near 
the  center  of  the  extra-warp  float  on  the  back  of  the  cloth  as 
is  consistent  with  the  attainment  of  proper  binding  places  for 
concealing  the  extra-warp  end. 


78 


CONSTRUCTION  OF  SPOT  WEAVES 


17 


SQISSDII 

EDEEEDEE 

EDEEEDEE 

BDBBBlZltlB 

BDBBBDBB 

EDEEEDEE 

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□BBBDHBB 

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DBBaDBBB 

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eedeeede 

BEDBEBD® 

EEDEEEDE 

BED® BEDE 

EEDEEEDE 

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^^^1  1 

UliliDllllllD 

bbbdbiibo 

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EDBMDBB 

ilDilllliniill 

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EDEEEDEE 

EriEEEDEE 

□smedeiie 

□SBBDEBB 

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□EEEDEEE 

EEDEEEDE 

BEDBEEDE! 

^iiiniiiiiinii 

□ 

Pi 

BBDBBBDB 

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BEBDBB11D 

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llilBOllllilD 

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.  10  (*) 


18 


CONSTRUCTION  OF  SPOT  WEAVES 


78 


12.  Stripe  Spot  Effects. — When  it  is  desired  to 
separate  the  spots  so  that  they  will  appear  on  the  surface 
of  the  cloth  a  greater  distance  apart,  as  many  ends  of  the 

ground  weave  as  are 
desired  may  be  in¬ 
serted  between  the 
spots.  Spots  are  often 
arranged  one  above  the 
other  in  the  direction 
of  the  warp  and  a  large 
number  of  ground  ends 
inserted  between  them, 
thus  forming  a  cloth 
having  a  spot  stripe 
running  through  it. 
Fig.  11  shows  a  design 
of  this  description,  a 
simple  round  spot  being 
arranged  so  that  as  the 
design  repeats  in  the 
cloth,  the  spots  will  be 
repeated  one  over  the 
other  throughout  the 
length  of  the  cloth. 
The  ground  weave  is 
the  4-harness  basket 
and  is  repeated  so  that 
the  spotted  stripes 
down  the  length  of  the 
cloth  will  be  separated 
by~~43  ends  of  the 
ground.  This  separa¬ 
tion  of  the  stripes  can 
of  course  be  increased 
or  diminished  to  suit 
any  requirements,  by 


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BBI  II  IBEI  II  1 

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simply  inserting  the  required  number  of  repeats  of  the 
ground  weave.  If  this  weave  were  woven  with  a  warp 


§78 


CONSTRUCTION  OF  SPOT  WEAVES 


19 


arranged  1  end  of  black  and  1  end  of  red  for  20  ends  and 
then  42  ends  of  red,  and  a  solid-red  filling  used,  a  stripe 
of  black  spots  would  be  formed  on  a  red  ground. 

Stripe  spot  effects  are  often  arranged  so  that  spots  of  two 
or  more  different  colors  are  formed,  often  alternately  one 
above  the  other.  When  this  is  the  case,  2  extra-warp  ends 
must  be  inserted  together  between  the  ground  ends;  that  is, 
if  two  differently  colored  spots  are  to  be  formed.  Fig.  12 
shows  a  design  arranged  in  this  manner.  If  the  warp  were 
arranged  1  black,  1  white,  1  red,  for  18  ends,  1  black, 
1  white,  80  red,  and 
woven  with  red  fill¬ 
ing,  a  red  fabric 
would  be  formed 
with  a  stripe  com¬ 
posed  of  alternate 
spots  of  black  and 
white.  The  lower 
spot  in  Fig.  12  would 
form  a  black  spot 
and  the  upper  one  a 
white  spot. 

13.  Harness 
and  Chain  Drafts. 

In  making  harness, 
or  drawing-in,  and 
chain  drafts  for 
extra-warp  fabrics, 
it  is  advisable  to 

separate  the  harnesses  carrying  the  ground  ends  from 
those  carrying  the  extra-warp  ends,  since  fabrics  of  this 
description  require  two  beams,  owing  to  the  difference  in 
take-up  between  the  ground  warp  and  the  extra,  or  figuring, 
warp.  It  is  customary  to  draw  the  ground  ends  on  the  front 
harnesses  and  the  extra-warp  ends  on  the  back  harnesses, 
although  this  is  a  matter  of  very  little  importance.  The 
design  could  just  as  well  be  woven  with  the  extra  warp 

92—  1G 


□□□□□013 13 
□□□□□□□□ 
maMamawa 
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□HQilDiini! 
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isaatsmama 

omom 

WOMU 

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mama 

□lion 

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wama 

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Fig.  12 


iox 


20 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


drawn  on  the  front  harnesses  as  with  the  ground  warp  drawn 
on  the  front  harnesses,  but  the  latter  is  a  little  more  con¬ 
venient,  since  the  ground  warp  in  many  cases  contains  a 
greater  number  of  ends  than  the  figuring  warp;  consequently 
there  is  a  greater  liability  of  the  ground  ends  breaking,  and 


(a) 


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MDD 

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(b) 

Fig. 13 


if  drawn  on  the  front  harnesses,  it  is  very  much  easier  to  tie 
ends  in  when  they  break  in  the  loom.  Fig.  13  (a)  shows 
the  drawing-in  draft  for  the  design  shown  in  Fig.  8  (d) ,  while 
Fig.  13  (/?)  shows  the  corresponding  chain  draft.  From  a 
careful  study  of  these  drafts,  their  method  of  construction 


§78  CONSTRUCTION  OF  SPOT  WEAVES 


21 


will  be  readily  apparent  and  no  further  explanation  will  be 
necessary. 

As  another  illustration,  however,  using  a  somewhat  differ¬ 
ent  case,  Fig.  14  (a)  and  (b)  is  given.  Fig.  14  (a)  is  the 
drawing-in  draft,  and  Fig.  14  ( b )  the  chain  draft  for  Fig.  12. 
There  are  two  distinct  systems  of  extra  warp;  the  ground 


□□□□□□□ns  □□Bsnnncn 
□□□□($□□□  □□□□□□□□ 

□□□□□□□□ 

(!)□□□□□□□ 

□□□□ 

□□□□ 

□!]□□□□□□  □□□□□□□□ 
□□□□□□ED  □□□□□□□□ 
□□□&□□□□  □□□□□□□E 
!!□□□□□□□  □□□□□□□□ 
□□□□□□□□  □□□!!□□□□ 
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□□□□□HDD  □□□□□□□□ 

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□□□□□□□□ 

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□□(Samoa 

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as 


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nmnmnnnn 

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(b) 

Fig. 14 


ends  have  been  drawn  on  the  first  4  harnesses,  the  black 
extra  warp  on  the  second  set  of  3  harnesses,  that  is,  on  the 
fifth,  sixth,  and  seventh  harnesses,  and  the  white  extra 
warp  on  the  eighth,  ninth,  and  tenth  harnesses.  By  separa¬ 
ting  the  warp  into  three  systems  in  this  manner,  the  first 


22 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


4  harnesses  will  carry  red  ends  only,  while  the  fifth,  sixth,  and 
seventh  will  carry  only  black  ends,  and  the  eighth,  ninth, 
and  tenth  only  white.  This  makes  it  much  easier  for  the 
weaver  when  tying  in  broken  ends  than  would  be  the  case  if 
the  black  and  the  red  extra-warp  ends  were  drawn  in  on 
alternate  harnesses,  as  they  appear  in  the  design;  that  is, 
this  design  could  be  drawn  in  so  that  the  first  4  harnesses 
would  contain  the  ground  ends;  the  fifth  harness,  black  extra¬ 
warp;  the  sixth  harness,  white  extra-warp;  the  seventh  har¬ 
ness,  black  extra-warp;  the  eighth,  white  extra-warp;  the  ninth, 
black  extra-warp;  and  the  tenth,  white  extra-warp.  If  this 
method  were  used,  there  would  be  some  liability  of  the 
weaver  drawing  the  extra-warp  ends  through  the  wrong 
harnesses  when  tying  in  broken  ends.  A  careful  comparison 
of  Fig.  14  (a)  and  (b)  and  Fig.  12  will  show  distinctly  the 
method  of  constructing  the  harness  and  chain  drafts. 


EXAMPLES  FOR  PRACTICE 

1.  Arrange  Fig.  3  (r)  as  an  extra-warp  spot  design,  using  the  plain 
weave  as  a  ground  weave. 

2.  Show  harness  and  chain  drafts  for  the  design  made  in  answer  to 
example  1,  showing  the  ground  ends  drawn  on  the  4  front  harnesses. 

3.  Arrange  Fig.  2  ( c )  as  an  extra-warp  spot  design,  using  the 
4-harness  cassimere  twill  for  a  ground  weave. 

4.  Show  harness  and  chain  drafts  for  the  design  made  in  answer 
to  example  3. 

5.  Show  harness  and  chain  drafts  for  Fig.  11,  drawing  the  ground 
weave  on  4  harnesses. 


SPOTS  FORMED  BY  EXTRA  FILEING 

14.  Cloths  in  which  the  spot  is  formed  on  the  surface  by 
an  extra,  or  figuring,  series  of  filling  yarn  are  constructed 
very  similar  to  extra-warp  fabrics,  except  that  the  spots  are 
produced  by  filling  yarn  instead  of  warp  yarn.  The  struc¬ 
ture  of  the  fabric  may  be  said  to  be  practically  the  same;  that 
is,  the  cloth  consists  of  a  ground,  or  body,  woven  with  a 
simple  weave,  and  spots  produced  by  flushes  of  extra  filling 
on  the  face  at  certain  points,  while  when  the  figuring  filling 
is  not  to  be  used  to  form  a  spot,  it  floats  on  the  back  of  the 


§78 


CONSTRUCTION  OF  SPOT  WEAVES 


23 


cloth.  In  constructing:  fabrics  of  this  kind,  place  the  spot 
figures  on  the  design  paper,  alternating  each  pick  with  a 
blank  pick,  on  which  the  ground  weave  may  afterwards  be 
inserted. 

After  deciding  on  a  certain  spot  and  arrangement  of  spots, 
the  spots  must  be  so  placed  on  the  design  that  the  filling  will 
flush  on  the  face  at  those  points  where  it  is  desired  to  have 


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(a) 


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Fig.  15 


the  spots  appear.  For  instance,  suppose  that  it  is  desired  to 
arrange  Fig.  8  (a)  for  an  extra-filling  design.  Separate  the 
picks  and  place  them  on  design  paper,  as  shown  in  Fig.  15  (a); 
wherever  it  is  desired  to  have  the  spot  appear,  the  filling  is 
allowed  to  flush  on  the  face,  and  at  every  other  place  the 
entire  warp  is  raised  over  the  pick  of  filling  so  that  it  will 
float  on  the  back  of  the  cloth.  Fig.  15  (a)  represents  the 


24 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


exact  reverse  of  Fig.  8  (a),  with  the  exception,  of  course, 
that  Fig.  15  (a)  is  opened  out,  the  picks  being  separated  by 
blank  picks.  To  complete  the  design  it  is  now  only  necessary 
to  insert  the  ground  weave  on  the  blank  picks  that  are 
left  for  its  reception.  The  completed  design  is  shown  in 
Fig.  15  (b),  in  which  the  4-harness,  or  cassimere,  twill  has 
been  inserted  as  a  ground  weave.  While  with  extra-warp 
fabrics  twice  as  many  ends  as  picks  were  required,  in  extra¬ 
filling  fabrics  twice  as  many  picks  as  ends  are  required,  that 
is,  if  the  spots  are  not  separated  by  several  picks  of  ground. 

15.  To  illustrate  further  the  method  of  forming  designs 
of  this  type,  suppose  that  it  is  desired  to  arrange  the  spot 
shown  in  Fig.  16  ( a )  as  an  extra-filling  design.  Fig.  16  (b) 
shows  this  spot  arrangement  placed  on  the  design  paper 
occupying  18  ends  and  36  picks;  that  is,  Fig.  16  (b)  occupies 
the  same  number  of  ends  and  twice  as  many  picks  as 
Fig.  16  (a).  Inserting  a  plain  ground  weave,  as  shown  in 
Fig.  16  (<r) ,  completes  die  design,  which  will  produce  a  spot 
arranged  in  plain  order.  If  either  Fig.  15  (b)  or  Fig.  16  (c) 
is  woven  with  a  solid-red  warp,  and  picked  1  white  and 
1  red,  white  spots  will  be  produced  on  a  red  fabric,  and  in 
the  case  of  Fig.  15  (b) ,  the  arrangement,  shape,  and  size  of  the 
spots  will  be  exactly  the  same  as  in  Fig.  8  (d) ,  except  that  the 
spots  in  Fig.  15  ( b )  will  be  formed  with  an  extra-filling  yarn, 
while  in  Fig.  8  ( d )  they  are  formed  with  extra-warp  yarn. 

16.  Tying. — In  cases  where  the  extra-filling  yarn  is  to 
be  cut  from  the  back  of  the  cloth,  each  float  of  extra  filling 
on  the  face  of  the  cloth  may  be  bound  in  a  manner  similar  to 
that  explained  in  connection  with  extra-warp  fabrics.  This 
is  accomplished  by  allowing  the  filling  to  be  depressed  under 
1  end  and  float  over  1  end  at  each  end  of  each  filling  float  on 
the  face,  thus  tying  the  fabric  in  the  same  manner  as 
the  extra  warp  was  tied.  Also,  if  the  floats  of  filling  on  the 
back  of  the  cloth  are  not  cut  off  and  are  very  long,  it  is  well 
to  tie  the  extra  filling  to  the  body  of  the  cloth.  This  may 
be  accomplished  by  raising  the  pick  of  filling  over  a  single 
end  at  a  point  somewhere  near  the  middle  of  the  float  on 


§78  CONSTRUCTION  OF  SPOT  WEAVES 


25 


the  back,  arranging  this  tying  place  so  that  the  extra  filling 
will  be  raised  over  an  end  between  two  picks  of  the  ground 
filling  that  are  raised  over  the  same  end.  These  two  filling 


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BBBBBBBB 

BB 

BBBDDDBB 

BBBBBBBB 

BB 

DDDODDDD 

DDDDDDDD 

DD 

HDIlDilCDllD 

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mn 

W  (C) 


Fig. 16 


flushes  of  the*  ground  will  cover  the  tying  place  so  that  it  can¬ 
not  be  seen  on  the  face  of  the  cloth. 


26 


CONSTRUCTION  OF  SPOT  WEAVES 


78 


17.  In  arranging  the  harness  and  chain  drafts  for  extra¬ 
filling  fabrics,  no  difficulty  should  be  experienced,  since  the 
fabrics  are  woven  with  a  single  system  of  warp  and  drawn 
in  exactly  like  a  simple  fabric,  usually  being  arranged  as  a 
straight  draft.  _ 


EXAMPLES  EOR  PRACTICE 

1.  Arrange  Fig.  3  ( c )  as  an  extra-filling  design,  using  the  plain 
weave  for  the  ground. 

2.  Arrange  Fig.  9  (a)  as  an  extra-filling  design,  using  the  cassi- 
mere  twill  for  the  ground  weave. 

3.  Arrange  Fig.  10  ( a )  as  an  extra-filling  design,  using  the  4-harness 
basket  weave  for  the  ground. 

4i  Make  an  original  spot  figure  and  arrange  it  in  6-end  satin  order 
as  an  extra-filling  design  to  be  complete  on  30  ends  and  60  picks. 

5.  Show  harness  draft  for  the  design  made  in  answer  to  example  3. 


WEAVES  FOR  BACKED 
COTTON  FABRICS 


FILLING-BACKED  CLOTHS 

1.  In  many  cloths,  an  extra  system  of  warp  or  filling  is 
adopted  for  the  purpose  of  adding  weight,  bulk,  or  warmth, 
in  which  case  the  extra  yarns  are  bound  to  the  cloth  at  regu¬ 
lar  intervals  in  such  a  manner  that  they  do  not  show  at  all 
on  the  face.  Cloths  of  this  description  are  known  as  backed 
fabrics.  The  manufacture  of  backed  cloths  is  often 
resorted  to  for  the  purpose  of  making  a  heavy  and  yet  cheap 
fabric,  since  by  using  a  cheaper  extra  warp  or  filling  a  thicker 
and  more  substantial  cloth  can  be  obtained  at  a  low  cost, 
while  at  the  same  time  the  necessary  thickness  and  weight 
may  be  obtained  without  altering  the  fineness  of  the  face  of 
the  fabric  or  without  changing  its  appearance. 

2.  Under  the  head  of  backed  fabrics  are  found  two  sub¬ 
divisions;  namely,  cloths  backed  with  filling  and  cloths 
backed  with  warp.  A  filling-backed  fabric  may  be  con¬ 
sidered  as  a  single  cloth  consisting  of  one  warp  and  one 
filling,  but  having  bound,  or  tied,  to  the  back  an  extra  set  of 
filling  threads,  which  are  interlaced  with  the  face  cloth  just 
enough  to  keep  them  attached  and  prevent  the  floats  on  the 
back  of  the  cloth  from  being  so  long  that  they  will  be  loose. 
This  effect  is  obtained  by  raising  the  warp  yarn  in  such  a 
manner  that  when  the  face,  or  regular,  filling  is  inserted  it 
will  interlace  with  the  warp  and  form  the  pattern  desired. 

For  notice  of  copyright ,  see  page  immediately  following  the  title  page 

2  79 


2 


WEAVES  FOR 


§79 


When,  however,  the  pick  of  backing  filling  is  placed  in  the 
cloth,  all  the  warp  ends  are  raised  with  the  exception  of  a 
few  that  are  left  down,  in  order  to  bind  the  backing  filling  to 
the  face  cloth.  This  has  the  effect  of  making  the  picks  of 
backing  filling  float  on  the  back  of  the  cloth,  except  where 
they  pass  over  the  few  ends  that  accomplish  the  binding , 
tying,  or  stitching ,  as  it  is  sometimes  called. 

The  filling  in  filling-backed  fabrics  may  be  arranged  1  pick 
of  face  and  1  pick  of  back,  2  picks  of  face  and  1  pick  of  back, 
or  2  picks  of  face  and  2  picks  of  back.  All  filling-backed 
fabrics,  since  they  are  composed  of  two  different  fillings, 
require  a  box  loom  for  their  production,  unless  the  same 
yarn  is  used  for  the  backing  filling  as  for  the  face,  which  is 
not  usually  the  case.  In  case  the  cloth  is  woven  in  a  loom 
that  has  but  one  box  on  one  of  its  sides,  the  filling  must  be 
inserted  2  picks  of  face  and  2  picks  of  back,  since  in  this 
type  of  loom  it  is  not  possible  to  put  in  a  single  pick  of  one 
kind  of  filling,  as  the  shuttles  must  always  return  to  the  box 
side  before  changing.  Fabrics  in  which  a  single  pick  of  the 
backing  filling  is  inserted  at  a  time  require  a  loom  with  more 
than  one  box  at  each  side,  in  which  it  is  possible  to  change 
the  filling  at  either  side  of  the  loom  and  consequently  on 
any  pick.  When,  as  is  often  the  case,  coarser  yarns  are 
used  for  the  back  than  for  the  face  filling,  the  fabric  is 
often  woven  with  1  pick  of  backing  and  2  picks  of  face,  and 
sometimes  in  extreme  ca^es,  3  or  even  4  face  picks  are  used 
to  1  pick  of  backing. 

Weaves  for  filling-backed  cloths  woven  with  face  and 
backing  filling  in  the  proportions  given  are  not  always 
arranged  in  exactly  the  order  stated.  For  instance,  the 
weave  for  a  cloth  woven  with  2  picks  of  face  alternating 
with  1  pick  of  backing  may  be  arranged  1  face,  1  back, 
1  face.  This,  of  course,  makes  no  actual  difference  in  the 
cloth  and  is  simply  mentioned  so  that  if  a  weave  is  noticed 
in  which  the  first  pick  is  a  face  pick  and  the  next  pick  a 
backing  pick,  it  will  not  be  thought  that  the  weave  is  neces¬ 
sarily  arranged  1  face  and  1  back,  since  the  next  2  picks  may 
be  face  picks,  and  so  on. 


§79 


BACKED  COTTON  FABRICS 


3 


3.  When  binding  the  backing  filling  to  a  filling-backed 
cloth,  the  tying  places  should  be  so  arranged  that  the  back¬ 
ing  picks  will  be  over  the  face-warp  ends  between  two  floats 
of  the  face  filling.  The  object  of  this  is  to  cover  the  tying 
places  so  that  they  cannot  be  seen  on  the  face  of  the  cloth, 
the  two  floats  of  the  face  filling,  one  float  on  each  side  of 
the  backing  filling,  crowding  over  the  backing  pick  where  it 
passes  over  the  warp  and  thus  hiding  it  from  view. 

In  addition  to  so  tying  the  backing  filling  that  it  will  not 
show  on  the  face  of  the  cloth,  the  tying  places  should  be 
placed  uniformly  throughout  the  fabric  so  that  the  cloth  will 
not  cockle.  The  best  method  of  distributing  the  tying  places 
is  in  satin  order,  since  by  this  method  not  only  are  they 
evenly  distributed,  but  all  liability  of  the  binding  places 
forming  twill  lines  on  the  face  of  the  cloth  is  obviated. 
Although  the  method  of  distributing  the  tying  places  in  satin 
order  is  the  most  satisfactory,  because  of  the  scattered  yet 
uniform  disposition  of  the  interlacings  of  the  back  filling 
with  the  face  warp,  it  often  happens  that  the  character  of  the 
face  weave  is  such  that  the  tying  places  cannot  be  distributed 
in  this  manner  and  at  the  same  time  each  be  located  between 
two  flushes  of  the  face  filling.  When  such  is  the  case  it  is 
always  better  to  adopt  some  other  system  of  binding,  such 
as  twill,  broken  crow,  etc.,  rather  than  run  the  risk  of  having 
the  backing  yarn  show  on  the  face  of  the  goods.  With 
filling-backed  fabrics,  it  is  impossible  to  form  any  fancy 
effects  on  the  back  of  the  fabric,  and,  in  fact,  this  is  not 
desired,  since  the  main  object  is  to  obtain  a  heavy-  or 
medium-weight  fabric  with  a  fine  face  produced  with  yarns 
of  fairly  high  counts. 

4.  When  making  designs  for  filling-backed  fabrics,  the 
first  step  is  to  indicate  the  face  and  back  picks  on  the  design 
paper,  in  order  that  they  may  not  be  mistaken  and  the  weave 
placed  on  the  wrong  pick.  This  may  be  accomplished  by 
placing  a  small  mark  at  one  side  of  the  design  opposite  each 
backing  pick  or,  preferably,  by  shading  the  backing  picks 
with  a  colored  pencil.  If  the  design  is  to  be  composed  of 


4 


WEAVES  FOR 


§71] 


1  pick  of  face  alternating  with  1  pick  of  back  it  is  better  to 
start  at  the  bottom  of  the  design  and  make  the  first  pick  a 
face  pick.  The  second  pick  should  be  made  a  back  pick, 
by  shading,  and  so  on  until  the  required  number  of  picks 
have  been  treated  in  this  manner. 


□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 


Fig.  1 


Fig.  2 


5.  Suppose  that  it  is  desired  to  back  the  8-harness  twilled 
basket  weave  shown  in  Fig.  1  with  filling,  in  order  to  obtain 

a  heavier  fabric,  the  filling  to 
be  inserted  1  pick  back,  2  picks 
face.  This  will  give  4  picks  of 
back  and  8  picks  of  face,  or  12 
picks  altogether,  in  1  repeat  of 
the  design.  When  making  a 
filling-backed  design  of  any  de¬ 
scription,  care  must  be  taken  to 
have  both  the  back  and  face  weaves  evenly  repeated  on  the 
back  and  face  picks,  respectively.  The  method  of  backing 
must  also  be  considered  when  determining  the  size  of  the 
completed  design.  The  first  operation  is  to  indicate  the 
backing  picks,  which  may  be  done  by  shading  them,  as  shown 
in  Fig.  2.  The  face  weave,  Fig.  1,  is  then  placed  on  the  face 
picks  in  Fig.  2,  as  indicated  in 
Fig.  3,  the  backing  picks  still  ® 
remaining  unmarked.  F 

The  next  step  in  the  forma¬ 
tion  of  the  design  is  to  raise 
all  the  warp  on  the  backing 
picks,  except  such  threads  as 
are  required  to  be  left  down 
for  the  purpose  of  binding  the  backing  filling  to  the  body 
of  the  cloth.  The  method  of  doing  this  is  shown  in  Fig.  4, 
the  squares  marked  with  crosses  indicating  where  the  warp 
is  raised  over  the  backing  picks.  By  referring  to  this 
design,  it  will  be  noticed  that  the  tying  points  are  distributed 
in  twill  order,  as  this  is  the  best  method  by  which  the  filling 
can  be  bound  with  this  weave,  it  being  obviously  impossible 
to  use  satin  order  of  tying  without  repeating  the  design, 


□BSEBSES 

bbsessihs 

BSESDESS 

bbdhbebb 


Fig.  3 


Fig.  4 


§79 


BACKED  COTTON  FABRICS 


5 


since  there  are  only  4  picks  of  backing  filling.  It  will  be 
noticed  that  the  binding  places,  where  the  backing  filling 
comes  to  the  face  of  the  cloth,  are  placed  on  ends  over 
which  the  face  filling  passes  on  the  preceding  and  succeed¬ 
ing  pick,  thus  hiding  the  pick  of  backing  filling.  Thus,  for 
example,  on  the  first  and  third  picks, 
which  are  face  picks,  the  filling  passes 
over  the  same  end  as  does  the  backing 
filling  on  the  second  pick.  This  method 
of  raising  the  picks  of  backing  filling 
occurs  throughout  the  weave.  Each  pick 


ssns 

□□□■ 

soss 

□SSI  El 

sssn 

■□□□ 


□stag 

SSSD 

SSDS 

SDSS 


Fig.  5 


Fig.  6 


of  backing  filling  in  this  design  is  tied  to  the  face  only  once 
in  8  ends,  but  it  would  be  possible  with  this  design  to  bind 
the  backing  filling  twice  in  8  ends,  if  it  were  desired  to 
produce  a  firmer  piece  of  goods. 


6.  Fig.  5  shows  a  filling-backed  design  arranged  1  face 
and  1  back.  In  this  design,  every  end  of  the  warp  serves 
at  one  time  in  each  repeat  of  the  weave  to  bind  the  backing 
filling  to  the  face.  Tying  on  every  end  of  the  warp  in  filling- 
backed  fabrics  makes  the  most  perfect  cloth,  since  all  the 
ends  will  then  take  up  the  same  and  there 
will  be  no  liability  of  the  cloth  wrinkling. 
However,  this  is  not  always  done,  especially 
when  a  soft  cloth  is  desired.  Very  often 
every  other  end  of  the  warp  serves  to  tie  the 
backing  filling,  as  is  the  case  in  Fig.  4. 
f  H  is  not  best,  however,  to  tie  on 

b  ""ns!  every  other  warp  end  if  a  very  thick 
f  or  coarse  backing  yarn  is  to  be  used, 

Fig.  8  since  this  will  surely  make  a  faulty 
cloth  unless  two  warp  beams  are 
used,  which  is  rarely  done  with  a  filling  backed  fabric. 
When  designing  filling-backed  cloths,  it  is  always  best  to 
use  soft-twisted  yarn  for  the  backing;  hard-twisted  or  too 
coarse  backing  yarn  is  more  or  less  liable  to  show  on  the 
face  of  the  cloth,  especially  if  fine  yarns  are  used  for  the 
face  weave. 


b  SSI  El  SSI  SID  (HI 
f 

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f 

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F 

b  sssssssn 

F 

b  SSDSSSSB 
f 

b  SSSSSDES 

f 

b  nsssssss 

F 

b  SSSD SEISE! 

f 


Fig.  7 


6 


WEAVES  FOR 


§79 


The  cassimere  twill  -S'  is  a  weave  that  is  often  required  to 
be  backed  with  filling,  and  in  Figs.  6,  7,  8,  and  9,  four  standard 
methods  of  accomplishing  this  are  shown.  The  designs  in 
Figs.  6  and_  7  are  to  be  preferred,  as  the  backing  filling 
is  tied  an  equal  number  of  times  on  each  end  of  the  warp. 
Figs.  8  and  9,  while  not  tied  perfectly,  may  be  successfully 
used  in  cases  where  the  backing  filling  is  not  too  coarse. 


7.  In  constructing  weaves  for  filling-backed  cloths,  the 
best  relation  of  the  face  weave  to  the  back  weave  should 
always  be  determined.  For  instance,  suppose  that  a  face 
weave  is  placed  on  design  paper  as  shown  in  Fig.  10.  In 
this  case,  there  is  no  place  where  the  back¬ 
ing  'pick  can  be  raised  for  tying  without 
having  the  face  warp  up  on  one  side  of  the 


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Fig. 10 


Fig. 11 


Fig. 12 


tying  point,  which  is  liable  to  cause  the  binding  to  show 
on  the  face  of  the  goods.  If,  however,  the  face  weave  is 
placed  on  the  design  paper  as  shown  in  Fig.  11,  the  backing 
can  readily  be  tied  to  the  face  without  any  danger  of  its 
showing.  The  backing  weave  in  this  design  is  the  broken 
crow  weave. 

Weaves  that  have  a  large  percentage  of  warp  on  the  face, 
especially  warp-flush  twills,  are  the  hardest  to  back  with 
filling,  on  account  of  there  not  being  places  in  the  weave 
where  the  tying  places  may  be  perfectly  covered.  When 
such  weaves  are  backed  with  filling  and  it  is  impossible  to 
have  a  face-filling  flush  on  each  side  of  the  tying  place,  the 
design  should  be  so  arranged  that  the  flush  of  face  filling 
next  to  the  tying  place  shall  follow  rather  than  precede  the 
flush  of  backing  filling.  When  the  face  flush  precedes  the 


§79 


BACKED  COTTON  FABRICS 


7 


backing  flush,  the  tie  will  show  prominently  on  the  face  of 
the  goods;  but  when  the  face  flush  follows  the  backing  flush, 
the  reed,  in  beating  up  the  filling,  will 
push  the  face  pick  over  the  backing  pick. 

This  method  is  employed  in  the  weave 
shown  in  Fig.  12,  where  the  warp-flush 
prunelle  twill  has  been  backed  with  filling, 
the  backing  weave  being 
the  9-end  satin  weave. 


□□□□□ 


□□□ 


■■■□ 

■□□□ 
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■□□□□□■ 
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ID 


□□ 

□□ 

□□ 

□□ 


Fig. 13 


8.  In  Fig.  13  a  10- 
harness  regular  twill 
is  shown,  while  in  Fig.  14 
the  same  twill  is  shown 
backed  with  filling  ar¬ 
ranged  2  face  and  2  back, 
taken  of  the  arrangement  of  the  tying  places  in  this  design, 

:>se  in  Fig.  15,  which  rep¬ 
repeats  of  the  same  twill 
filing  and  arranged  2  face 
and  1  back.  In  Fig.  15, 


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the  backing  filling  is  tied 
on  every  other  end  by  two 
lines  of  twills,  thus  tying 
on  all  the  ends  in  the  warp. 

In  order  to  obtain  a 
good  system  of  tying,  it 
is  often  necessary  to  re¬ 
peat  a  design.  Thus,  for 
instance,  if  it  was  desired 
to  use  heavy  or  coarse 
backing  filling  in  the  de¬ 
sign  shown  in  Fig.  4,  it 
would  be  necessary,  in 
order  to  tie  on  every  end 
to  either  bind  the  filling  once  in  every  4  warp  ends  or  repeat 
the  design  and  bind  as  shown  in  Fig.  16,  which  shows 
Fig.  4  repeated  in  its  picks. 


Fig. 15 


Fig. 16 


8 


WEAVES  FOR 


§79 


When  tying  a  backing  filling  to  a  face  cloth  that  has  long 
filling  floats,  the  tying  places  should  always  be  as  near  the 
center  of  these  floats  as  possible,  since,  when  tied  in  this 
manner,  the  binding  points  will  be  more  easily  covered. 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  filling-backed  weave  arranged  1  face,  1  back,  using  the 
^4  regular  twill  for  the  face;  tie  the  backing  filling  perfectly  once  on 
each  warp  end. 

2.  Make  an  8-end  filling  satin  and  back  it  with  filling,  arranging  it 
1  face  and  1  back. 

3.  Back  the  cassimere  twill  with  filling,  the  weave  to  be  arranged 

1  face  and  1  back  and  capable  of  being  woven  on  4  harnesses. 

4.  If  a  12-harness  regular  twill  is  backed  with  filling,  the  weave 

being  arranged  1  face,  1  back,  1  face,  on  how  many  ends  and  picks  will 
the  weave  be  complete? 

5.  Back  the  regular  twill  t  with  filling,  arranging  the  weave 

1  face  and  1  back.  Tie  each  backing  pick  once  in  10  warp  ends. 

G.  Back  the  twill,  twilled  to  the  left,  with  the  8-end  satin,  arran¬ 

ging  the  weave  1  face  and  1  back;  have  the  face-filling  flush  follow 
rather  than  precede  the  back-filling  flush. 


WARP-BACKED  CEOTHS 

9.  Warp-backed  fabrics  are  those  cloths  constructed 
with  one  system  of  filling'  and  one  system  of  warp  yarns  for 
forming  the  face  of  the  goods  and  also  an  extra  system  of 
warp  yarn  for  making  a  heavier  and  warmer  fabric  than 
would  be  possible  with  a  single  cloth.  These  cloths  require 
more  harnesses  than  filling-backed  cloths,  on  account  of  the 
extra,  or  backing,  warp,  while  on  the  other  hand  they  can  be 
woven  in  looms  with  single  boxes,  since  there  is  only  one 
system  of  filling  to  be  placed  in  the  cloth.  This  is  a  great 
advantage  in  those  cases  where  single-box  looms  are  all 
that  can  be  used.  This  of  course  applies  only  to  cloths  in 
which  one  kind  or  color  of  face  filling  is  used,  since  if  more 
than  one  kind  is  used  a  box  loom  will  be  necessary. 


§79 


BACKED  COTTON  FABRICS 


9 


It  requires  only  the  same  amount  of  time  to  weave  warp- 
baeked  fabrics  that  would  be  occupied  in  weaving  any  cloth 
with  the  same  number  of  picks  per  inch,  since  there  are  no 
extra  picks  of  backing  filling  to  be  placed  in  them.  Color 
can  also  be  applied  to  the  back  of  warp-backed  fabrics  to 
advantage,  since  stripe  effects  can  be  easily  made,  while  with 
filling-backed  cloths  only  bars  across  the  cloth  can  be  made, 
which  is  rarely  a  satisfactory  method  of  applying  color. 
However,  care  should  'be  taken  in  all  cases  where  a  different 
color  from  that  of  the  face  yarn  is  applied  to  backed  cloths, 
to  have  the  binding  points  perfect,  so  that  the  color  of  the 
backing  yarn  will  not  show  on  the  face  of  the  goods. 

In  weaving  the  majority  of  cloths  backed  with  warp  two 
beams  are  required,  since  the  backing  warp  is  generally  of  a 
coarser  yarn  and  has  different,  interlacings  with  the  filling 
than  has  the  face  warp,  thus  causing  a  different  amount  of 
contraction.  It  is  necessary  that  the  backing  yarn  in  a 
warp-backed  fabric  should  be  harder-twisted  than  the  back¬ 
ing  yarn  in  a  filling-backed  fabric,  since  it  has  to  withstand 
the  strain  that  comes  on  all  warp  yarn  during  weaving.  On 
this  account  warp-backed  fabrics  will  feel  harsher  and  stiffer 
than  filling-backed  fabrics,  in  which  soft-twisted  yarns  are 
almost  exclusively  used  for  the  backing  filling. 

10.  There  are  several  important  points  that  should  be 
noted  when  considering  warp-backed  fabrics.  (1)  The 
backing-warp  must  be  raised  over  a  pick  in  every  instance 
where  it  is  desired  to  bind  the  backing  warp  to  the  face 
cloth;  this,  it  will  be  seen,  is  the  reverse  of  the  case  with 
filling-backed  fabrics,  where  a  warp  end  is  depressed,  in 
order  to  bind  the  cloth.  (2)  In  warp-backed  fabrics,  the 
tying  places  should  always  be  placed  between  two  warp 
flushes  of  the  face  cloth,  in  order  that  the  tying  may  be 
covered  and  not  show  on  the  face  of  the  cloth;  if  in  any  case 
this  is  impossible,  the  backing  warp  may  be  raised  either 
to  the  right  or  left  of  a  face-warp  flush.  (3)  If  there  are 
more  interlacings  of  the  face  warp  with  the  filling  than  there 
are  of  the  back  warp  with  the  filling  in  a  given  number  of 


92—17 


10 


WEAVES  FOR 


§79 


picks,  or  if  one  series  of  warp  yarn  is  coarser  than  the  other, 
it  will  be  necessary  to  place  the  two  warps  on  separate 
beams,  since  the  take-up  of  the  warps  in  weaving  will  be 
different.  (4)  It  is  always  best  to  select  weaves  of  regular 
structure,  such  as  satins,  broken  crow,  etc.,  for  the  backing 
weave,  so  that  each  backing  end  will  have  the  same  number 
of  interlacings.  (5)  If  a  warp-backed  fabric  is  arranged 
1  face  and  1  back,  the  backing  warp  should  never  be  of 
heavier  yarn  than  the  face,  since  if  this  is  the  case  the 
back  will  show  through  on  the  face  of  the  cloth.  (6)  If  the 
design  is  arranged  2  face  and  1  back,  a  proportionately 
heavier  yarn  can  be  used  for  the  back  warp. 

11.  Suppose  that  it  is  desired  to  back  the  cassimere  twill 
with  warp,  using  the  8-harness  satin  weave  for  binding  the 
backing  warp  to  the  cloth,  the  design  to  be  arranged  1  face 
end  and  1  back.  As  the  back  weave  in  this  case  will 
require  8  ends,  it  will  be  necessary  to  show  two  repeats  of 
the  face  weave  in  the  complete  design,  the  cloth  being  woven 
1  and  1.  Therefore,  the  finished  design  will  be  complete 
on  16  ends  and  8  picks.  The  first  operation  is  to  shade  or  in 
some  other  manner  to  indicate  the  backing  ends,  in  orcler  that 


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Fig.  17  Fig.  18 

they  may  be  distinguished  from  the  face  ends.  The  method 
of  doing  this  is  shown  in  Fig.  17,  where  the  vertical  rows  of 
squares  for  the  backing  weave  are  shaded,  while  those  for 
the  face  weave  are  left  blank.  Fig.  18  shows  the  cassimere 
weave,  which  is  to  be  used  for  the  face  weave  in  this  design, 
placed  on  the  face  ends.  The  next  step  is  to  place  the  back¬ 
ing  weave  on  the  design.  As  the  back  weave,  which  is  to  be 
the  8-end  satin,  must  flush  on  the  back  of  the  cloth,  each 
back-warp  end'  should  be  raised  only  once  in  8  picks  and  in 


§79 


BACKED  COTTON  FABRICS 


11 


satin  order.  The  method  of  placing  the  back  weave  on  the 
design  paper  is  shown  in  Fig.  19,  where  the  design  is  shown 
complete,  crosses  indicating  where  the  backing  warp  is  raised. 
In  this  figure,  the  method  of  raising  the  back  warp  at  the 


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Fig.  20 


tying  places  between  two  face-warp  flushes  should  be  care¬ 
fully  noted,  the  object  of  course  being  to  allow  the  floats  of 
face  warp  to  crowd  over  and  hide  the  tie. 


12.  Fig.  20  is  another  design  showing  the  cassimere  twill 
backed  with  warp.  In  this  case,  however,  the  ends  are 
arranged  2  face  and  1  back  and  the  back  warp  is  bound  in 
left  twill  order.  Fig.  21  shows  still  another  method  of  back¬ 


ing  the  cassimere  twill  with  warp,  each  backing  warp  end 
being  tied  once  in  8  picks  and  the  ends  arranged  1  face  and 
1  back.  Fig.  22  is  a  design  for  a  basket  weave  backed  with 
the  8-end  satin  weave,  the  ends  being  arranged  2  face 
and  2  back. 


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Fig.  22 


HARNESS  AND  CHAIN  DRAFTS 

13.  Ordinarily,  with  filling-backed  fabrics,  only  as  many 
harnesses  are  required  to  weave  the  design  as  are  required 
for  the  face  weave  alone.  In  the  case  of  warp-backed 
fabrics,  however,  as  the  backing  warp  always  interlaces  with 
the  filling  differently  from  the  face  warp,  it  must  be  drawn  in 


12 


WEAVES  FOR 


§79 


on  separate  harnesses.  A  warp-backed  weave  may  be  drawn 
in  exactly  as  a  single  cloth  if  it  is  so  desired.  In  this  case, 
if  the  weave  is  arranged  1  face  and  1  back,  the  first  harness 
will  be  used  for  the  face  warp,  the  second  harness  will  have 
the  backing  warp,  and  so  on,  each  alternate  harness  being 
used  for  the  backing  harness.  This  method  of  drafting  is 
adopted  in  some  instances  in  connection  with  warp-backed 
fabrics  of  simple  design,  but  in  the  majority  of  cases  it  is 
desirable  to  separate  the  harnesses  for  the  backing  warp 
from  those  through  which  the  face  warp  is  drawn,  since  it 
makes  the  harness  draft  much  simpler  for  the  weaver,  thus 
rendering  the  liability  of  broken  back-warp  ends  being  tied 
in  on  harnesses  through  which  face  ends  should  be  drawn, 
or  vice  versa,  less  probable. 

There  are  two  methods  of  separating  the  harnesses  carry¬ 
ing  the  backing  warp  from  those  carrying  the  face,  the  first 
being  that  of  drawing  in  the  back  warp  on  the  back  harnesses 
and  the  second  being  that  of  drawing  the  back  warp  through 
the  front  harnesses.  Both  methods  are.  largely  in  use,  but 
for  certain  reasons  the  latter  is  to  be  preferred.  By  draw¬ 
ing  the  backing  ends  through  the  front  harnesses  they  are 
more  readily  accessible  to  the  weaver,  and  as  the  backing 
ends  are  frequently  of  poorer  material  and  thus  break  oftener, 
this  is  somewhat  of  an  advantage.  For  the  same  reason, 
namely,  that  the  backing  ends  are  often  weaker  than  the 
face  ends,  it  is  also  an  advantage  to  place  the  backing  warp  on 
the  front  harnesses,  since  the  back  harnesses  are  lifted  higher 
during  weaving,  thus  bringing  more  strain  on  the  yarn 
drawn  through  them. 

14.  The  method  of  making  the  drafts  for  a  warp-backed 
fabric  will  be  explained,  taking  Fig.  19  as  an  example.  The 
first  step  is  to  make  the  harness  draft.  In  drafting  this 
design,  the  back  warp  will  be  placed  on  the  front  harnesses 
and  consequently  will  be  drafted  first.  Since  in  this  example 
the  backing  weave  is  an  8-harness  satin,  it  will  require 
8  harnesses.  Proceed  exactly  as  in  single  cloth,  taking  care, 
however,  as  this  weave  is  arranged  1  face  and  1  back,  to 


§79 


BACKED  COTTON  FABRICS 


13 


leave  every  other  vertical  row  of  squares  on  the  design 
paper  for  drawing  in  the  face  warp.  Next  make  the  harness 
draft  for  the  face  weave,  placing  it  above  the  draff  for  the 
back  weave  but  on  the  vertical  rows  of  squares  reserved  for 
the  face  warp.  As  the  face  of  Fig.  19  is  a  4-harness  weave, 
there  will  be  two  repeats  of  the  face  drawing-in  draft  to  one 
repeat  of  the  back.  The  complete  drawing-in  draft  obtained 
as  explained  above  is  shown  in  Fig.  23  (a),  the  back  warp 
being  drawn  in  on  the  front  harnesses. 

In  making  the  chain  draft,  the  same  system  as  that 
explained  in  connection  with  single  cloths  is  adopted;  and 


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Fig.  24 


since  the  warps  have  been  separated  and  drawn  in  on  sepa¬ 
rate  harnesses,  the  face  and  back  weaves  will  be  separated 
in  the  chain  draft.  Fig.  23  (b)  shows  the  chain  draft  for 
Fig.  19  drawn  in  according  to  the  harness  draft  shown  in 
Fig.  23  ( a );  the  crosses  show  the  picks  on  which  the  back- 
warp  harnesses  are  raised. 

If  it  were  desired  to  draft  Fig.  19  with  the  back  warp 
drawn  in  on  the  back  set  of  harnesses,  the  harness  draft 
would  be  made  as  shown  in  Fig.  24  ( a ).  When  making  the 
chain  draft  for  Fig.  19  according  to  the  harness  draft  shown 
in  Fig.  24  («),  the  same  method  is  observed  as  with  single 
cloth,  which  gives  the  draft  shown  in  Fig.  24  {b) . 


14 


WEAVES  FOR 


§79 


15.  When  drafting  warp-backed  weaves  that  are  arranged 
2  face  and  1  back,  the  same  methods  are  employed  as  those 
previously  explained  except  that  2  face  ends  are  placed  con¬ 
secutively  on  the  drawing-in  draft 
in  accordance  with  the  design.  The 
method  of  making  this  style  of  draw¬ 
ing-in  draft  is  shown  in  Fig.  25  (6), 
which  is  the  drawing-in  draft  for 
Fig.  25  (a).  The  chain  draft  for 
Fig.  25  ( a )  according  to  the  drawing- 
in  draft  shown  in  Fig.  25  ( b )  is 
shown  in  Fig.  25  (c). 


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□□□□□□HD 

□□□□□□□□ 

(b) 

□■■■■□EC 

■■■□■SOD 


□□ 
□  □ 
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an 


EXAMPLES  FOR  PRACTICE 

1.  Back  the  regular  twill  with  warp, 
arranging  the  ends  1  face  and  1  back;  tie 
each  backing  end  perfectly. 

2.  Back  the  4233  regular  twill  with 
warp,  arranging  the  ends  1  face  and  1 
back;  tie  the  backing  warp  in  12-end  satin 
order. 

3.  Make  a  design  for  a  warp-backed  fabric  having  the  -y  regular 
twill  on  the  face  and  the  8-harness  satin  weave  on  the  back,  arranging 
the  ends  1  face  and  1  back;  show  harness  and  chain  drafts  with  the 
back  warp  drawn  in  on  the  front  harnesses. 


C c ) 

Fig.  25 


4.  Back  the  -S:  regular  twill  with  warp,  arranging  the  ends  1  face, 
1  back,  1  face;  tie  the  backing  warp  in  5-end  satin  order  and  show 
harness  and  chain  drafts  with  the  face  warp  drawn  in  on  the  front 
harnesses. 


§79 


BACKED  COTTON  FABRICS 


15 


PIQUES  AND  BEDFORD  CORDS 


PIQUES 

16.  Although  piques  cannot  strictly  be  classed  with 
either  filling-backed  or  warp-backed  cloths,  they  have  features 
similar  in  many  respects  to  both  types.  For  example,  a 
pique  cloth  has  a  separate  system  of  filling,  known  as  the 
wadding  filling,  and  in  this  respect  resembles  a  filling- 
backed  fabric.  It  also  has  a  separate  system  of  warp  ends, 
in  which  respect  it  resembles  warp-backed  fabrics;  but  unlike 
warp-backed  fabrics  these  backing  ends  in  piques  are  for  the 
purpose  of  holding  the  wadding  filling  and  also  to  cause 
ridges  across  the  cloth,  not  to  add  any  weight  or  warmth  to 
the  fabric. 

In  making  a  design  for  a  pique,  the  following  •  points 
should  be  noted:  (1)  When  placing  the  weave  on  design 
paper,  the  first  step  is  to  indicate  the  vertical  rows  of  squares 
on  which  the  face  ends  are  to  be  placed  and  also  the  vertical 
rows  of  squares  on  which  the  backing  ends  are  to  be  placed; 
this  can  be  done  by  shading  the  vertical  rows  of  squares 
representing  the  backing  ends,  as  was  done  when  making 
warp-backed  designs.  (2)  The  proportion  of  face  ends  to 
back  ends  in  piques  is  generally  2  face  and  1  back;  that  is, 
every  third  end  on  the  design  paper  will  be  a  backing  end. 
(3)  The  picks  on  which  the  wadding  filling  is  to  be  inserted 
should  be  indicated  in  some  way.  (4)  The  proportion  of 
face  picks  to  wadding  picks  depends  to  a  large  extent  on  the 
kind  of  yarn  to  be  used  for  the  wadding;  in  case  it  is  coarser 
than  the  yarn  for  the  face  picks,  the  proportion  is  generally 
2  face  to  1  wadding,  although  different  proportions  are  used 
to  suit  different  requirements.  (5)  In  addition  to  the  face 


16 


WEAVES  FOR 


S70 


and  wadding  picks  there  are  what  are  known  as  the  cutting 
picks;  these  are  the  picks  on  which  the  backing  ends  are 
brought  to  the  face  for  the  purpose  of  pulling  down  the  face 
cloth  between  the  wadding  picks,  thus  forming  furrows 
across  the  cloth,  and  should  be  indicated  on  the  design  paper 
in  some  manner.  (6)  The  number  of  picks  between  the 
cutting  picks  is  determined  by  the  design  to  be  woven;  how¬ 
ever,  if  possible,  there  should  be  at  least  2  picks  of  the  face 
weave  between  the  wadding  picks  and  the  cutting  picks. 
(7)  The  face  weave  is  placed  on  all  the  face  ends,  neglecting 
the  backing  ends  and  wadding  picks  entirely;  this  is  done 


F  &  c 
F  &  C 
F 
F 
W 
W 
F 
F 
W 
W 
F 
F 

F  &  C 
F  &  C 
F 
F 
W 

w 

F 

F 

W 

W 

F 

F 


Fig.  26  Fig.  27 

in  exactly  the  same  manner  as  was  explained  with  warp- 
backed  fabrics.  The  face  weave  of  piques  is  generally  the 
plain  weave.  (8)  All  the  face  ends  are  raised  on  the 
wadding  picks.  (9)  All  the  backing  ends  are  raised  on 
the  cutting  picks. 


17.  Fig.  26  shows  the  design  paper  marked  out  for  a 
pique  design  occupying  18  ends  and  24  picks.  The  shaded 
squares  indicate  those  on  which  the  backing  warp  and  the 
wadding  filling  are  to  be  placed.  The  ends  and  picks  are 
also  marked  with  the  letters  F,  face;  B,  back;  IV,  wadding; 
F  &  C,  face  and  cutting.  The  next  step  in  the  formation 


nmnnmnni 


nmnnmnm 

nmnnm 


nmnnmnnm 
nmnnm  nnm 
nmnnmnn 
nmnnmnn 
□HDD 


nmnnmnnm 

□anoBiniiia 


nnmnamnn 

nnmnamnn 

nnmnamnn 

nnmnamnn 


nnmnamnn 

nnmnamnn 


nnmnamnn 

nnmnamnn 

nnnnnmnn 

nnmnamnn 

nnmnamnn 

nnmnamnn 


nnwnmwnn 

nnmnamnn 


_ _ nnmnamnn  mn 

nmnnunnm  nnmnamnn  mn 


0D 

mn 

□ 


mn 

□- 

mn 

mn 


an 


F  &  C 
F  &  C 
F 
F 
W 
W 
F 
F 
W 
W 
F 
F 

F  &  C 
F  &  C 
F 
F 
W 
W 
F 
F 
W 
W 
F 
F 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□  □ 

□□ 
□□ 
□  □ 

□  □ 

□  □ 
□  □ 

□  □ 

□  □ 

□  □ 

□  □ 
□□ 

□  □ 
□  □ 
□  □ 

□  □ 


FBFFBFFB  FFBFFBFF  BF 


FBFFBFFB  FFBFFBFF  BF 


79 


BACKED  COTTON  FABRICS 


17 


is  the  placing  of  the  face  weave  on  the  squares  that  are  not 
marked  for  back  ends  and  wadding  picks.  Fig.  27  shows 
the  design  with  the  plain  weave  inserted  for  the  face.  The 
next  step  is  to  mark  the  design  to  show  all  the  face  warp 
ends  raised  on  the  wadding  picks,  since  these  are  inserted 
so  as  to  cause  the  face  cloth  to  be  pushed  upwards  between 
the  cutting  picks.  The  back  warp  must  remain  down  on  the 
wadding  picks  to  bind  the  wadding  picks  to  the  fabric.  The 
next  step  is  to  raise  the  backing  ends  on  the  cutting  picks. 
This  requires  the  backing  ends  to  be  raised  on  the  eleventh 
and  twelfth,  also  the  twenty-third  and  twenty-fourth  picks. 
The  effect  of  this  is  to  bind 
the  backing  ends  to  the  fabric 
and  pull  down  the  face  cloth 
to  form  a  hollow  place  after 
a  certain  number  of  wadding 
picks  have  been  inserted,  in 
this  case  4  picks,  and  after  a 
certain  amount  of  face  cloth 
has  been  woven,  in  this  case 
6  picks. 

Fig.  28  shows  the  design 
complete.  The  first  2  picks 
are  plain,  the  backing  ends 
being  down  and  consequently 
not  showing  on  the  face  at 
all.  On  the  third  and  fourth  picks,  the  wadding  is  inserted. 
While  this  is  done  all  the  face  warp  is  raised,  as  shown  by 
the  crosses,  and  the  back  warp  is  down;  consequently,  the 
picks  of  wadding  will  lie  in  between  these  two  series  of 
yarns  and  will  not  show  on  the  face,  but  being  heavier  than 
the  face  yarns  will  tend  to  raise  the  cloth  constructed  by  the 
face  weave.  The  next  4  picks  are  repetitions  of  the  first 
4  picks,  and  them  come  2  more  face  picks.  On  the  eleventh 
and  twelfth  picks,  in  addition  to  the  plain  weave  of  the  face 
cloth,  the  backing  warp  is  brought  to  the  surface,  as  shown  by 
the  dots.  These  are  the  cutting  picks.  In  weaving  a  pique 
design,  the  backing  warp  is  generally  placed  in  a  separate 


F  &  C 
F  &  C 
F 
F 
W 

w 

F 

F 

W 

W 

F 

F 

F  &  C 
F  &  C 
F 
F 
W 
W 
F 
F 
W 
W 
F 
F 


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Fig.  28 


18 


WEAVES  FOR 


§79 


beam  that  is  weighted  heavier  than  that  containing  the  face 
warp,  thus  causing  the  backing  warp  to  be  under  greater 
tension.  When  this  backing  warp  is  brought  to  the  face,  as 
it  is  under  greater  tension,  it  will  of  course 'tend  to  draw 
down  the  face  yarns,  thus  causing  a  furrow  between  those 
parts  of  the  cloth  that  contain  the  wadding  picks. 

The  next  12  picks  are  but  repetitions  of  the  first  12  picks 
and  consequently  need  no  further  explanation.  Fig.  28 
shows  6  repeats  of  the  ends  and  2  repeats  of  the  picks,  the 
design  being  complete  on  3  ends  and  12  picks.  The  design 
has  been  extended  in  this  figure  in  order  to  show  more 
clearly  the  construction  of  these  weaves. 

18.  When  studying  the  construction  of  a  pique  design,  it 
should  be  understood  that  the  wadding  picks  do  not  show 
on  the  face  of  the  cloth  at  any  point,  but  simply  lie  between 


Fig.  29 


the  face  and  back  ends.  Again,  the  backing  ends  do  not 
show  on  the  face  of  the  cloth  at  all,  except  where  they  are 
raised  for  the  purpose  of  pulling  down  the  face  cloth. 
Consequently,  the  face  of  a  cloth  woven  with  a  design  such 
as  the  one  shown  in  Fig.  28  would  be  similar  to  plain  cloth, 
with  the  exception  of  the  raising  of  the  cloth  in  ridges 
through  the  effect  of  the  wadding  picks,  and  also  the  floating 
of  the  back  warp  over  2  picks  in  certain  parts  of  the  cloth. 

The  position  that  the  different  ends  and  picks  occupy  when 
woven  into  cloth  with  this  design  is  more  clearly  illustrated 
in  Fig.  29,  where  a  sectional  view  of  3  ends  and  24  picks  is 
shown.  The  heavy,  dark  line  represents  the  backing  end, 
while  the  other  two  lines  running  in  the  same  direction 
show  2  face  ends.  The  larger  cross-sections  marked  w  show 
the  wadding  picks,  while  the  smaller  cross-sections  show  the 
face  picks.  By  referring  to  this  figure  it  will  be  seen  how 
the  face  picks  interweaving  with  the  face  warp  crowd  over 


§79 


BACKED  COTTON  FABRICS 


19 


the  wadding  picks,  thus  hiding  them.  It  will  also  be  seen 
how  the  backing  end  rising  over  the  interlacings  of  the  face 
filling  and  face  warp  draws  them  down,  thus  forming  a  furrow 
across  the  cloth. 


DISSECTING  A  PIQUE 

19.  When  dissecting  fabrics  of  this  type,  the  following 
points  will  be  found  to  be  of  considerable  assistance: 
(1)  Find  the  proportion  of  face  ends  to  the  back  ends  by 
counting  on  the  back  of  the  cloth  the  number  of  backing 
ends  per  inch  and  then  counting  on  the  face  of  the  cloth  the 
number  of  face  ends  per  inch.  Suppose,  for  example,  that 
there  are  found  to  be  30  backing  ends  and  60  face  ends  in  an 
inch,  then  there  are  2  face  ends  to  every  backing  end  and  the 
pickout  should  be  marked  out  in  this  manner.  (2)  Find 
the  proportion  of  face  picks  towadding  picks.  (3)  Find  the 
weave  for  the  face  cloth  and  place  it  on  all  the  face  ends, 
omitting  the  wadding  picks.  (4)  Find  the  order  of  raising 
the  back  warp  into  the  face;  this  can  readily  be  done  by 
taking  a  small  part  of  the  sample  the  wrong  side  up  and 
pulling  out  the  ends,  one  by  one,  instead  of  the  picks,  noting 
on  the  design  paper  whenever  a  back  end  is  raised  into 
the  face  cloth.  (5)  Raise  all  the  face  ends  on  the  wad¬ 
ding  picks. 

20.  In  making  the  harness  and  chain  drafts  for  a  pique 
design,  the  backing  and  face  warps  are  drawn  through  sepa¬ 
rate  sets  of  harnesses,  as  explained  when  dealing  with  cloths 
backed  with  warp.  The  backing  warp  is  in  most  cases  drawn 
through  the  back  harnesses  and  the  face  warp  through  the 
front  harnesses. 

When  pique  cloths  are  arranged  2  face  to  1  back  they  are 
as  a  rule  reeded  3  in  a  dent;  that  is,  2  face  ends  and  1  back 
end  are  drawn  in  each  dent  of  the  reed  in  such  a  manner  that 
there  will  be  1  face  end  on  each  side  of  the  back  end  in  the 
dent.  Piques  are  high-pick  cloths,  the  number  of  picks  per 
inch  being  largely  in  excess  of  the  number  of  ends  per  inch. 


20 


WEAVES  FOR 


§79 


□@000001! 
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BEDFORD  CORDS 

21.  Although  Bedford  cords  have  the  same  general 
appearance  as  piques  with  the  exception  that  the  furrows  run 
lengthwise  of  the  cloth  instead  of  across  the  cloth,  their  con¬ 
struction  will  be  found  to  differ  to  a  very  large  extent. 
Thus,  in  Bedford  cords  there  will  be  found  to  be  wadding 
ends  instead  of  wadding  picks.  These  wadding  ends  are 
held  in  the  cloth  by  means  of  the  same  picks  that  form  the 
face  of  the  cloth  instead  of  using  backing  picks,  while  2  ends 
a  b  working  plain  throughout  the 

entire  length  of  the  cloth  form 
the  furrow. 

Fig.  30  (a)  shows  one  repeat 
of  the  ends  and  two  repeats  of 
the  picks  of  a  Bedford-cord 
design;  the  furrows  length¬ 
wise  of  the  cloth,  which  are 
characteristic  of  Bedford  cords, 
are  formed  by  the  first  and 
second,  also  the  eleventh  and 
twelfth  ends,  which  work  plain 
throughout  the  cloth,  while 
the  weaves  between  them  form  the  ridges.  The  parts  of 
the  design  between  the  ends  working  plain  are  marked 
a  and  b.  In  section  (a)  the  fifth  and  eighth  ends,  marked  W, 
are  the  wadding  ends.  Dealing  now  only  with  the  third, 
fourth,  sixth,  seventh,  ninth,  and  tenth  ends  it  will  be  noticed 
that  they  work  plain  on  the  first  and  second  picks  and  are  all 
raised  on  the  third  and  fourth  picks.  This  being  one  repeat 
of  the  design  in  its  picks,  the  others  are  only  repetitions  of 
these  first  4  picks.  The  effect  of  raising  the  ends  in  this 
manner  is  to  cause  the  second  and  fifth  picks  and  also  the 
first  and  sixth  to  come  together  and  thus  produce  a  plain 
weave  on  the  face  of  the  cloth.  It  will  also  be  noticed  that 
on  those  picks  on  which  all  these  ends  are  raised  the  wad¬ 
ding  ends  are  also  raised.  The  filling  floating  at  the  back 
will  in  this  manner  bind  the  wadding  ends  between  the  face 


□□□□moots 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□aooao 

□omoomoo 

□fflOODDOO 

□]□□□□□□□ 


□□□□□□□□ 

□□□□□□mo 

□□□□□$)□□ 

□□□□sod® 

□aoooooo 

mooooooo 

□□□moooo 

□□[[]□□□□□ 


□□□□ 
□man 
Ennis 
□  □(SO 
□□□□ 
□□□□ 
□□□□ 
□□□□ 


(b) 

Fig.  30 


§79 


BACKED  COTTON  FABRICS 


21 


cloth  and  these  picks  of  filling,  not  allowing  the  wadding 
ends  to  show  on  the  face  and  yet  holding  them  securely  in 
position. 

Referring  now  to  section  (b),  it  will  be  seen  that  this  cor¬ 
responds  to  section  (a)  with  the  exception  that  the  position 
of  the  picks  is  reversed;  that  is,  while  in  section  (a)  the 
face  ends  are  working  plain  on  the  first  and  second  picks, 
in  section  (b)  they  are  all  raised;  and  while  in  section  (a) 
all  the  face  ends  are  raised  on  the  third  and  fourth  picks,  in 
section  (b)  they  are  working  plain.  Thus,  the  same  picks, 
that  are  weaving  plain  to  form  the  face  cloth  in  section  (a) 
are  floating  at  the  back  to  hold  the  wadding  ends  in 
section  (b);  and  the  reverse  is  also  true. 

The  first,  second,  eleventh,  and  twelfth  ends,  which  work 
plain  throughout  the  cloth,  will  work  tighter  than  the  rest  of 
the  ends  in  the  warp,  and  make  the  furrows  between  those 
parts  of  the  cloth  that  contain  the  wadding  ends. 


DISSECTING  A  BEDFORD  CORD 

22.  In  dissecting  a  cloth  of  this  character,  the  following 
points  will  be  found  of  assistance:  (1)  Notice  the  ends  that 
work  plain  throughout  the  weave  and  that  form  the  furrows 
running  lengthwise  of  the  cloth;  these  are  the  ends  that 
correspond  to  the  first,  second,  eleventh,  and  twelfth  ends  in 
Fig.  30  (a).  (2)  Count  the  ends  working  plain  on  the  face 

of  the  cloth  in  the  raised  portion  between  the  furrows.  It 
will  be  seen  that  in  Fig.  30  (a)  there  are  6  ends.  Then  by 
looking  at  the  back  of  the  cloth  the  number  of  wadding  ends 
can  readily  be  determined,  thus  learning  the  proportion  of 
face  ends  to  wadding  ends.  (3)  Arrange  the  ends  on  the 
design  paper  after  the  manner  shown  in  Fig.  30  (a),  taking 
care  to  have  the  wadding  ends  come  between  the  face  ends 
and  also  to  have  the  face  ends  that  are  working  plain  in  one 
section  raised  in  the  next,  and  vice  versa. 

It  is  not  possible  to  pick  out  one  of  these  cloths  in  the 
same  manner  as  is  done  with  cloths  containing  but  one 
system  of  warp  and  one  system  of  filling,  but  by  having  a 


22 


BACKED  COTTON  FABRICS 


79 


good  general  knowledge  of  their  construction  it  is  possible 
to  learn  the  weave  of  any  sample  by  simply  studying  the 
cloth  by  means  of  a  pick  glass.  Bedford  cords  are  high-sley 
goods  and  the  number  of  ends  per  inch  is  always  in  excess 
of  the  number  of  picks  per  inch. 

23.  When  making  the  drawing-in  draft,  the  wadding 
ends  are  generally  drawn  through  the  back  harnesses,  while 
the  face  ends  are  drawn  through  the  front  harnesses.  In 
reeding  these  cloths,  each  wadding  end  should  be  drawn  into 
a  dent  with  2  or  more  face  ends  if  possible.  Fig.  30  (b) 
shows  a  drawing-in  draft  for  Fig.  30  (a).  In  reeding  the 
ends  when  drawn  through  the  harnesses  in  this  manner 
the  best  plan  would  be  to  draw  5  ends  in  a  dent,  commenc¬ 
ing  with  the  second  end;  that  is,  the  second,  third,  fourth, 
fifth,'  and  sixth  ends  would  occupy  one  dent;  the  seventh, 
eighth,  ninth,  tenth,  and  eleventh,  another;  the  twelfth, 
thirteenth,  fourteenth,  fifteenth,  and  sixteenth,  another;  and 
the  seventeenth,  eighteenth,  nineteenth,  twentieth,  and 
first,  another.  This  will  bring  each  wadding  end  in  a 
dent  between  2  or  more  face  ends. 


WOOLEN  AND  WORSTED 
PLY  WEAVES 


INTRODU  CTICfN 

1.  In  the.manufacture  of  woolen  and  worsted  fabrics,  and 
especially  in  the  production  of  the  former,  it  is  often  desired 
to  make  a  heavier  and  warmer  fabric  than  is  possible  when 
only  two  systems  of  yarns  are  employed,  as  in  single  cloths. 
Since  it  is  desirable  to  produce  a  fabric  with  a  fine  face, 
the  additional  weight  cannot  be  obtained  by  increasing  the 
size  of  the  yarns;  nor  is  it  feasible  to  increase  the  number 
of  ends  and  picks  in  the  fabric,  because  of  the  difficulty  in 
weaving  and  the  impossibility  of  making  a  level  cloth.  It 
therefore  becomes  necessary  to  add  one  or  more  systems  of 
yarn,  either  of  warp  or  filling  or  both,  to  the  back  of  the 
cloth,  thus  producing  what  is  known  as  a  ply  fabric.  Ply 
fabrics  are  also  often  manufactured  for  the  purpose  of  pro¬ 
ducing  a  cheap  fabric  that  will  have  the  weight  of  more  costly 
cloths.  This  is  readily  accomplished  by  using  cheaper  yarns 
for  that  portion  of  the  fabric  that  constitutes  the  back  of  the 
cloth;  in  this  manner,  the  weight  is  gained,  and  a  thicker  and 
more  substantial  cloth  produced  at  only  a  slightly  increased 
cost,  and  without  injuring  the  quality  or  appearance  of  the 
face  of  the  goods. 

2.  Classification  of  Ply  Fabrics.— -There  are  two 
general  classes  of  fabrics  to  which  extra  yarn  is  added  for 
the  purpose  of  giving  thickness,  weight,  and  warmth.  The 
first  class  includes  those  fabrics  to  which  only  one  system 

Copyrighted,  by  International  Textbook  Company.  Entered  at  Stationers'  Hall,  London 

l  80 


2 


WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


of  yarn  is  added  (that  is,  cloths  with  a  backbig  warp  or  fill¬ 
ing);  these  are  known  as  backed  cloths,  and  are  divided 
into  warp-backed  fabrics  and  filling-backed  fabrics.  The  sec¬ 
ond  class  includes  fabrics  constructed  of  two  or  more  distinct 
cloths  stitched,  or  bound,  together  at  intervals  and  consisting 
of  two  or  more  distinct  series  of  both  warp  and  filling;  this 
class  of  fabrics  includes  double  and  triple  cloths ,  which  are 
made  not  only  for  gaining  weight  and  warmth,  but  also,  in 
many  cases,  for  producing  a  double  face  on  the  goods,  or  to 
obtain  two  distinct  effects,  one  on  each  side  of  the  cloth.  In 
a  fabric  of  the  latter  description,  the  face  of  the  cloth  may 
be  of  a  solid  color,  say  blue,  while  the  back  of  the  fabric, 
which  will  form  the  Mning  of  the  garment  when  the  cloth  is 
made  up,  may  show  a  plaid  pattern,  or  vice  versa.  Such 
goods  as  these  are  frequently  used  for  golf  caj$es  and  over¬ 
coats,  the  fabrics  being  often  three-ply  cloths.  Double  cloths 
are  largely  used  for  suitings,  both  worsted  and  woolen,  while 
backed  fabrics  are  also  used  for  suitings,  trouserings,  etc. 
to  a  large  extent. 

All  fabrics  having  two  or  more  systems  of  both  warp  and 
filling  do  not,  of  necessity,  have  the  same  number  of  systems 
of  each,  some  having  three  warps  and  two  fillings  or  three 
fillings  and  two  warps,  etc.  Yarn  added  in  this  way  to  pure 
double  or  triple  cloths  is  usually  for  tying  purposes  if  warp 
yarn,  and  for  wadding  if  filling  yarn,  to  make  the  cloth 
heavier.  Such  fabrics  could  truly  be  called  two-and-a-half- 
ply  fabrics,  etc. 


80  WOOLEN  AND  WORSTED  PLY  WEAVES 


3 


BACKED  FABRICS 


FILLING-BACKED  FABRICS 

3.  Filling-backed,  cloths  are  the  simplest  in  structure  of 
all  ply  fabrics,  being  somewhat  simpler  than  warp-backed 
fabrics,  since  the  latter  involve  special  methods  of  con¬ 
structing  drawing-in  and  chain  drafts.  A  filling-backed 
fabric  may  be  considered  as  a  single  cloth  consisting  of  one 
warp  and  one  filling,  but  having  bound,  or  tied,  to  the  back 
an  extra  system  of  filling  threads  that  are  interlaced  with  the 
face  cloth  just  enough  to  keep  them  attached  and  prevent 
their  forming  long,  loose  floats  on  the  back  of  the  cloth. 
This  effect  is  obtained  by  so  raising  the  warp  yarn  that  when 
the  face  filling  is  inserted  it  will  interlace  with  the  warp 
according  to  the  weave  desired  on  the  face  of  the  cloth. 
When  the  pick  of  backing  filling,  however,  is  placed  in  the 
cloth,  the  whole  warp  is  raised,  with  the  exception  of  those 
ends  that  are  depressed,  in  order  to  bind,  or  tie,  the  backing 
filling  to  the  face  cloth.  This  has  the  effect  of  making  the 
pick  of  backing  filling  float  on  the  back  of  the  cloth,  except 
where  it  passes  over  the  few  ends  that  tie  it  to  the  cloth. 
The  method  of  attaching  the  backing  yarn  to  the  cloth  is 
known  as  binding ,  tying ,  or  stitching ,  and  the  places  where 
the  backing  yarns  are  interlaced  with  the  face  cloth  are 
known  as  the  binding  points,  stitching  places,  tying  points, 
ties,  etc.  These  tying  places  should  be  so  arranged  that  the 
backing  filling  will  float  over  the  warp  thread  between  two 
floats  of  the  face  filling  over  the  same  end.  The  object  of 
this  is  to  cover  the  tying  places  so  that  they  cannot  be  seen 
on  the  face  of  the  cloth,  the  two  floats  of  the  face  filling, 
one  on  each  side  of  the  float  of  backing  filling  on  the  face, 
crowding  over  the  backing  pick  and  thus  hiding  it  from  view. 

Not  only  should  the  tying  places  be  so  arranged  as  to  be 


92—18 


4 


WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


invisible  on  the  face  of  the  cloth,  but  they  should  also  be 
distributed  uniformly  throughout  the  fabric  so  that  the  cloth 
will  not  cockle  or  finish  unevenly.  The  best  method  of 
distributing  the  tying  places  is  in  satin  order,  as  by  this 
means  not  only  are  they  evenly  distributed,  but  all  liability 
of  the  binding  points  forming  twill  lines  on  the  face  of 
the  fabric  is  obviated.  Many  weaves,  especially  those  con¬ 
structed  on  a  satin  basis,  can  usually  be  tied  in  satin  order 
when  backed  with  warp  or  filling. 

Although  the  method  of  distributing  the  tying  places  in 
satin  order  is  the  most  satisfactory,  because  of  the  scattered, 
yet  uniform,  distribution  of  the  interlacings  of  the  backing 
filling  with  the  warp,  it  often  happens  that  the  character  of 
the  face  weave  is  such  that  the  tying  places  cannot  be 
distributed  in  this  manner,  and  at  the  same  time  have 
each  occur  between  two  flushes  of  the  face  filling.  When 
such  is  the  case,  it  is  always  better  to  adopt  some  other 
system  of  binding  rather  than  run  the  risk  of  having  the 
backing  yarn  show  on  the  face  of  the  goods.  The  designer 
should  always  distribute  the  tying  places  as  evenly  and 
uniformly  as  possible;  if  not  in  satin  order,  then  in  some 
other  regular  order,  so  that  each  end  will  be  depressed 
under  the  backing  filling  the  same  number  of  times.  This 
is  not  so  important  when  the  backing  filling  is  compara¬ 
tively  fine  as  when  a  coarse,  heavy  backing  yarn  is  used. 
Sometimes  a  weave  may  be  tied  to  advantage  in  broken 
crow  order. 

4.  Filling-backed  fabrics  are  made  with  1  pick  of  face 
and  1  pick  of  back,  with  2  picks  of  face  and  1  pick  of  back, 
and  also  with  2  picks  of  face  and  2  picks  of  back,  etc.  As 
filling-backed  fabrics  necessitate  the  use  of  two  fillings,  a  box 
loom  must  be  employed  for  their  production,  unless  the 
same  yarn  is  used  for  the  backing  filling  as  for  the  face  fill¬ 
ing.  However,  this  is  not  usually  the  case,  as  the  backing 
yarn  is  generally  softer  twisted,  in  order  to  give  the  fabric  a 
soft,  warm  feeling,  and  in  the  majority  of  cases  is  also 
composed  of  cheaper  material,  and  often  of  coarser  yarn. 


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Fig.  11 


Fig.  12 


92  §  80 


80  WOOLEN  AND  WORSTED  PLY  WEAVES 


5 


Weaves  with  2  consecutive  picks  of  face  and  2  of  back  are 
necessary  in  case  the  cloth  is  woven  in  a  loom  with  extra 
boxes  on  one  side  only,  since  with  this  type  of  loom  it  is 
not  possible  to  put  in  a  single  pick  of  filling,  as  the  shuttles 
always  come  to  rest  on  the  side  of  the  loom  that  has  the 
changeable  boxes.  Fabrics  that  have  a  single  pick  of  back¬ 
ing  filling  require  a  pick-and-pick  box  loom,  with  changeable 
boxes  on  each  side,  unless,  as  previously  stated,  the  backing 
filling  is  of  the  same  yarn  as  the  face  filling.  When,  as  is 
often  the  case,  coarser  yarn  is  used  for  the  backing  than  is 
used  for  the  face  filling,  the  fabric  should  be  made  with 
1  pick  of  backing  and  2  picks  of  face,  and  sometimes  in 
extreme  cases  3  or  even  4  face*  picks  should  alternate  with 
1  backing  pick. 

With  filling-backed  fabrics,  it  is  impossible  to  form  any 
fancy  effects  on  the  back  of  the  fabric;  and,  in  fact,  this  is 
not  desired,  the  main  object  being  to  obtain  a  heavy-  or 
medium-weight  fabric,  yet  with  a  fine  face  produced  with 
yarns  of  comparatively  high  numbers. 

5.  When  making  weaves  for  filling-backed  fabrics,  the 
first  step  is  to  indicate  the  face  and  backing  picks  on  the 
design  paper,  in  order  that  they  may  not  be  mistaken  and 
the  weaves  placed  on  the  wrong  picks.  If  the  design  is  to 
be  composed  of  1  pick  of  face  alternating  with  1  pick  of 
backing,  it  is  better  to  start  at  the  bottom  of  the  design  and 
make  the  first  pick  a  face  pick.  The  second  pick  should  be 
made  a  backing  pick,  and  so  on  until  sufficient  picks  on  which 
to  place  the  design  have  been  marked.  When  a  fabric  is  to 
be  composed  of  2  face  picks  alternating  with  1  backing  pick, 
it  is  customary  to  mark  off  the  design  paper  1  face,  1  back, 
1  face.  When  the  weave  is  made  with  2  face  and  2  back,  it 
may  be  laid  out  1  face,  2  back,  1  face.  The  above  methods, 
of  course,  make  no  real  difference  in  the  weave  and  are  not 
always  used  by  any  means.  They  are  mentioned  only  in 
order  that  it  may  be  understood  that  although  the  first  pick 
of  the  weave  may  be  a  face  pick  and  the  next  a  backing 
pick,  it  may  be  laid  out  with  2  face  picks  alternating  with 


6 


WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


1  backing  pick,  since  the  next  2  picks  may  be  face  picks. 
When  making  a  filling-backed  weave  of  any  description,  care 
must  be  taken  to  have  both  the  face  and  backing  weaves 
evenly  repeated  on  the  face  and  backing  picks,  respectively. 
The  method  of  backing  must  also  be  carefully  considered 
in  this  connection;  that  is,  whether  the  weave  is  arranged 
1  face  and  1  back  or  2  face  and  1  back,  etc. 

6.  To  illustrate  the  method  of  constructing  filling-backed 
weaves,  suppose  that  it  is  desired  to  back  the  8-harness  twilled 
basket  weave  shown  in  Fig.  1  with  filling,  the  cloth  to  be 
woven  with  1  pick  of  face  and  1  pick  of  backing  filling.  The 
complete  weave  will  require  16  picks,  8  picks  for  the  face 
weave  and  8  picks  for  the  backing  weave.  The  first  opera¬ 
tion  in  constructing  the  weave  is  to  indicate  which  are  to  be 
the  face  and  which  the  backing  picks.  This  may  be  done  in 
any  convenient  manner,  it  being  advisable  for  a  beginner  to 
shade  the  backing  picks  with  a  pencil;  in  Fig.  2,  the  backing 
picks  are  indicated  by  the  pink-shaded  squares.  The  next 
step  is  to  place  the  face  weave  (in  this  case  Fig.  1)  on  the 
picks  that  have  been  indicated  (in  Fig.  2)  as  face  picks. 
The  method  of  doing  this  is  shown  in  Fig.  3,  and  it  should 
be  carefully  noted  that  as  yet  the  backing  picks  remain 
unmarked.  The  pink-shaded  squares  in  Figs.  2  and  3  do 
not  represent  the  warp  as  lifted,  but  simply  indicate  which 
picks  are  the  backing  picks.  The  next  operation  is  to  place 
risers  on  the  backing  picks,  raising  all  the  warp  ends  except 
such  as  are  left  down  to  bind  the  backing  filling  to  the  fabric, 
thus,  in  reality,  forming  a  backing  weave.  The  method  of 
accomplishing  this  is  shown  in  Fig.  4,  in  which  the  backing 
weave  is  shown  by  red  squares  and  where  it  will  be  seen 
that  the  warp  ends  are  depressed  to  form  the  tying,  or  bind¬ 
ing,  points  at  those  places  where  the  face  filling  will  float 
over  the  same  end  before  and  after  the  backing  pick.  Thus, 
the  filling  floats  of  the  first  and  third  picks  will  cover  the 
tying  place  on  the  second  pick,  and  similarly,  throughout  the 
whole  design,  each  tying  place  will  be  covered  by  the  face 
filling.  It  should  also  be  noted  that  the  tying  places  are 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES 


7 


distributed  in  8-end  satin  order,  thus  forming  a  perfect  filling- 
backed  weave.  Both  black-  and  red-filled  squares,  in  Fig.  4, 
represent  the  warp  raised  over  the  filling. 

In  Fig.  4,  the  backing  filling  is  bound  into  the  cloth  only 
once  in  8  ends,  but  it  is  possible  in  this  design,  if  a  firmer 
fabric  is  desired,  to  increase  the  number  of  tying  places, 
thus  making  the  floats  of  the  backing  filling  shorter.  This 
may  be  done,  as  shown  in  Fig.  5,  by  arranging  two  tying 
places  on  each  pick.  In  this  weave,  it  will  be  noticed  that 
the  same  perfect  structure  is  retained,  and  that  each  end  of 
the  warp  is  depressed  under  the  backing  filling  the  same 
number  of  times,  thus  insuring  equality  of  take-up  inweaving. 

Suppose  that  it  is  desired  to  back  the  same  weave,  Fig.  1, 
with  a  coarser  backing  filling,  the  cloth  to  be  arranged  with 
2  picks  of  face  and  1  of  back.  The  design  paper  may  be 
shaded  off  as  shown  in  Fig.  6  and  the  weave  constructed  on 
the  principTes  previously  explained.  In  this  case,  however, 
only  12  picks  will  be  required  for  the  complete  weave,  8  face 
and  4  backing  picks.  In  order  that  each  end  of  the  warp 
shall  take  up  the  same  in  weaving,  two  ties  must  be  placed 
on  each  backing  pick  and  so  arranged  that  each  end  will  be 
depressed  under  the  backing  pick  once;  this  is  accomplished 
in  Fig.  7,  which  represents  Fig.  1  backed  as  stated.  If  it 
were  desired  to  back  the  8-harness  twilled  basket  with  filling 
having  the  weave  arranged  2  face  and  1  back  and  having  the 
backing  filling  tied  only  once  in  8  ends,  it  would  be  advisable 
to  repeat  the  weave,  as  shown  in  Fig.  8,  since  by  no  other 
means  would  it  be  possible  to  have  a  tying  place  on  each 
end.  If,  as  is  often  the  case,  a  face  weave  complete  on  a 
few  ends  and  picks  is  used  and  it  is  desired  to  tie  the  backing 
filling  loosely,  repetition  of  the  weave  is  necessary;  while  in 
many  other  instances  repeating  the  weave  will  enable  a  more 
perfect  tying  arrangement  to  be  used. 

7.  In  arranging  the  face  weave,  it  is  important  in  many 
cases  to  consider  its  best  relation  to  the  backing  weave.  For 
instance,  suppose  that  it  is  desired  to  back  the  4-harness 
basket  weave  with  filling  and  that  the  weave  is  placed  on 


8 


WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


design  paper  as  shown  in  Fig.  9;  in  this  case,  there  is  no  place 
where  the  backing  can  be  raised  for  binding  without  having 
the  warp  up  on  one  side,  and,  as  previously  explained,  the 
stitching  is  liable  to  show  on  the  face  of  the  goods  unless 
covered  by  face-filling  floats.  If,  however,  the  face  weave  is 
placed  on  the  design  paper,  as  shown  in  Fig.  10,  the  backing 
can  readily  be  stitched  to  the  face,  as  shown,  without  any 
danger  of  its  appearing  on  the  surface.  The  back  weave  in 
this  case  is  the  broken  crow  weave. 

Weaves  that  have  a  large  percentage  of  warp  on  the  face, 
especially  warp-flush  twills,  are  the  hardest  to  back  with 
filling,  on  account  of  there  not  being  places  in  the  weaves 
where  perfect  tying  places  can  be  arranged.  When  such 
weaves  are  backed  with  filling  and  it  is  impossible  to  have 
a  face-filling  flush  on  each  side  of  the  tying  place,  the  design 
should  be  so  arranged  that  the  flush  of  face  filling  that  is 
beside  the  tying  place  will  follow  rather  than  precede  the  tie. 
When  the  face-filling  flush  precedes  the  binding  point,  the 
tie  will  show  up  prominently  on  the  face  of  the  goods;  but 
when  the  face  flush  follows  the  tie,  the  reed  of  the  loom  will 
push  the  face  pick  over  the  raised  backing  pick.  This 
method  is  employed  in  Fig.  11,  where  the  warp-flushed 
prunelle  twill  has  been  backed  in  the  filling  with  the  9-har- 
ness  satin.  When  filling-flush  weaves  are  backed  with  filling, 
the  tying  places  should  be  arranged  as  near  the  center  of 
the  face-filling  floats  as  a  regular  system  will  allow,  in  order 
that  the  tie  may  be  as  well  covered  as  possible. 

Considerable  ingenuity  must  occasionally  be  employed  in 
tying  the  backing  filling  to  the  cloth,  especially  in  cases 
where  a  coarse  backing  filling  must  be  used  and  it  is  desir¬ 
able  to  arrange  the  tying  places  so  that  each  warp  end  will 
be  depressed  under  the  backing  filling  the  same  number  of 
times.  In  fact,  almost  every  weave  requires  some  particular 
system  of  tying,  and  each  should  be  carefully  considered,  in 
order  to  determine  how  it  can  be  tied  to  the  best  advantage. 

8.  Fig.  12  shows  the  10-end  regular  twill  ~t  backed  with 
filling,  the  weave  being  arranged  2  picks  of  face  and  2  of 


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(a)  Fig.  ‘20  (b) 


92  §  80 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES 


9 


back.  The  method  of  tying  the  backing  filling  should  be 
particularly  noticed  in  this  design,  as  well  as  the  arrange¬ 
ment  employed  in  Fig.  13,  which  represents  2  repeats  of  the 
same  twill  backed  with  filling  and  arranged  2  face  and  1  back. 
The  tying  places  are  arranged  in  two  twill  lines,  being  alter¬ 
nated  so  that  each  backing  pick  is  tied  once  in  the  repeat  of 
the  weave  and  each  end  contains  one  tying  point. 


CUT  FILLING-BACKED  FABRICS 

9.  Cut  filling-backed  fabrics  are  generally  made  for 
trousering  or  suiting  patterns  and  show  on  the  face  of  the 
goods  a  fine  cut  mark ,  or  indentation,  running  usually  in  the 
direction  of  the  length  of  the  piece.  This  cut  mark  is  com¬ 
monly  produced  by  allowing  the  backing  filling  to  float  over 
certain  ends  of  the  warp  throughout  the  weave;  this  also 
binds  the  backing  filling  to  the  cloth.  When  the  cut  marks 
are  to  be  near  together,  it  is  usually  unnecessary  to  bind  the 
backing  filling  to  the  cloth  in  any  other  manner;  but  if  the 
stripe  between  the  cut  marks  is  to  be  wide,  it  is  advisable  to 
bind  the  backing  filling  in  the  ordinary  manner,  in  addition 
to  where  the  cut  is  to  be  formed.  Generally  two  cutting 
ends  are  used,  and  although  both  are  depressed  on  every 
backing  pick,  they  are  usually  arranged  to  work  in  plain 
order  with  the  face  picks. 

In  Fig.  14,  the  cassimere  twill  is  shown  backed  with  filling 
and  arranged  to  form  a  stripe  of  8  ends  and  then  a  cut.  The 
backing  filling  floats  over  both  cutting  ends,  which,  however, 
as  shown  by  the  blue  risers,  work  in  plain  order  with  the 
face  filling. 

If  desired,  the  cut  may  be  made  to  run  diagonally  across 
the  cloth  instead  of  lengthwise.  This  is  sometimes  done 
when  backing  twill  weaves,  the  backing  filling  being  arranged 
to  float  over  the  warp  in  the  same  direction  as  the  twill  of 
the  face  weave,  thus  making  the  cut  accentuate  the  boldness 
of  the  twill.  Fig.  15  shows  the  8-end  twilled  basket  weave 
backed  with  filling  in  such  a  manner  as  to  make  a  diagonal 
cut  mark. 


10  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


10.  When  all  the  filling  is  of  the  same  material,  another 
method  of  producing  cut  marks  may  be  employed.  The  fill¬ 
ing  yarn  is  brought  to  the  face  in  one  section,  or  stripe,  and 
interweaves  with  the  warp  according  to  the  face  weave,  while 
in  the  other  section  the  same  pick  is  allowed  to  float  on  the 
back  of  the  cloth  as  a  backing  pick.  Fig.  16  shows  a  design 
constructed  on  this  principle,  the  face  weave  being  the 
regular  twill.  The  first  pick  is  a  face  pick  for  the  first  sec¬ 
tion  of  8  ends  and  then  it  passes  to  the  back  of  the  cloth  and 
becomes  a  backing  pick  for  8  ends,  when  it  comes  to  the  face 
again.  In  the  same  manner,  the  second  pick  is  a  backing 
pick  for  8  ends  and  then  a  face  pick  for  8  ends.  In  this  way, 
a  cut  mark  is  made  at. the  first  and  sixteenth  and  the  eighth 
and  ninth  ends,  where  the  filling  is  reversed.  If  a  prominent 
cut  mark  is  desired,  the  face  weave  should  not  be  placed  on 
the  cutting  ends,  which  should  be  left  as  shown  in  Fig.  16. 
Each  pick  is  as  much  a  backing  pick  as  a  face  pick  and  vice 
versa,  so  that  if  a  fabric  of  uniform  appearance  is  to  be  made, 
the  filling  must  all  be  of  uniform  size  and  quality. 


FILLING  REVERSIBLES 

11.  When  filling-flush  weaves  are  backed  with  filling 
interlacing  with  the  warp  after  the  same  manner  as  the  face 
filling,  a  reversible,  or  double-faced,  fabric  is  formed  having 
the  same  appearance  on  both  sides;  that  is,  if  both  fillings 
are  of  the  same  material  and  color.  Satin  weaves  are 
generally  used  for  these  designs  and  the  cloths  are  known  as 
satin  reversibles.  Twill  weaves  are  also  used.  In  cloths 
of  this  description,  the  warp  yarn  is  entirely  concealed,  being 
embedded  between  the  two  fillings,  and  consequently  is 
usually  of  a  cheaper  material,  cotton  warps  being  largely 
employed. 

Fig.  17  shows  a  5-end  satin  reversible,  which,  if  woven, 
would  have  a  filling-flush  satin  face  on  each  side  of  the  cloth. 
If  this  weave  is  picked  1  black  and  1  red,  the  face  of  the  cloth 
will  be  black  and  the  back  red,  since  each  color  will  show 
only  on  one  side.  Fig.  18  is  a  filling  reversible  weave  with 


80  WOOLEN  AND  WORSTED  PLY  WEAVES  11 


the  Lr  twill  running  to  the  right  on  each  side  of  the  cloth. 
When  making  weaves  for  this  class  of  fabrics,  the  backing 
weave  should  be  twilled  in  the  opposite  direction  to  the  face 
weave,  in  order  that  it  may  run  in  the  same  direction  when 
the  cloth  is  turned  over.  In  Fig.  18,  it  will  be  noticed  that 
two  of  the  tying  places  are  not  perfect;  however,  they  have 
been  arranged  so  that  the  face  filling  flush  follows  the  tying 
point  instead  of  preceding  it.  Then  again  as  the  backing  and 
face  filling  in  this  class  of  fabrics  are  usually  of  the  same 
material,  there  is  not  so  much  danger  of  the  tying  showing 
prominently  on  the  face  of  the  goods;  that  is,  if  the  face  filling 
and  the  backing  filling  are  of  the  same  color,  as  well  as  of 
the  same  material. 

12.  Figured  Filling  Reversibles.— Designs  for  fig¬ 
ured  filling  reversibles  are  usually  made,  according  to  a  given 
motive,  with  two  filling  reversible  weaves,  one  arranged  to 
throw  the  odd-numbered  picks  on  the  face  and  the  even- 
numbered  picks  on  the  back,  and  the  other  arranged  to 
produce  the  opposite  effect.  Thus,  if  the  weave  is  picked, 
say,  1  white  and  1  green,  the  motive  will  be  reproduced  in 
white  on  a  green  ground  on  the  face  of  the  goods,  and  in  green 
on  a  white  ground  on  the  back  of  the  cloth,  or  vice  versa. 
Since  the  warp  is  entirely  hidden  in  the  fabric,  cotton  warps 
are  commonly  used  and  the  fillings  are  of  equally  good 
quality.  Any  two  filling  reversible  weaves  may  be  used  in 
constructing  designs  of  this  description,  but  those  complete 
on  a  small  number  of  ends  and  picks  are  to  be  preferred  if 
the  motive  is  comparatively  small.  Take,  for  instance, 
Fig.  19  (a)  and  (b) .  In  both  of  these  weaves,  the  filling- 
flush  broken  crow  weave  is  backed  with  filling  tied  in  broken 
crow  order;  in  other  words,  both  are  filling  reversibles.  In 
(a),  however,  the  odd-numbered  picks  are  the  face  picks  and 
the  even-numbered  picks  the  backing  picks,  while  in  (b)  the 
reverse  is  the  case;  so  that  if  these  designs  are  woven,  say, 
1  white  and  1  green,  (a)  will  produce  a  cloth  white  on  the 
face  and  green  on  the  back,  and  (b)  a  cloth  green  on  the 
face  and  white  on  the  back.  It  will  be  seen,  therefore,  that 


12  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


these  two  weaves  may  be  combined  to  produce  figured 
effects. 

The  arrangement  of  the  weaves,  as  already  stated,  is 
usually  accomplished  according  to  a  given  motive.  Suppose, 
for  instance,  that  a  simple  checker-board  effect,  with  square 
figures  arranged  in  plain  order,  is  desired;  then  all  that  is 
necessary  is  to  lay  out  the  motive  the  required  size,  and 
place  the  weave  shown  in  Fig.  19  (a)  on  it,  and  that  shown 
in  Fig.  19  ( b )  on  the  ground,  or  vice  versa.  When  arran¬ 
ging  the  motive  for  the  reception  of  the  weaves,  it  should  be 
enlarged  twice  as  much  filling-way  as  warp-way,  since  filling- 
backed  weaves  arranged  1  face  and  1  back  require  twice  as 
many  picks  as  ends  to  give  the  same  number  of  face  or  back¬ 
ing  picks  as  ends,  or,  in  other  words,  to  give  a  squarely  built 
texture  to  the  face  and  back.  If  the  motive  were  not  laid 
out  in  this  manner,  the  length  of  the  check  or  other  figure, 
as  the  case  might  be,  would  be  reduced  one-half,  which 
would  cause  it  to  appear  distorted.  The  assumption  in  this 
case  is,  of  course,  that  it  is  desired  to  construct  the  cloth 
with  as  many  face  or  backing  picks  as  ends  per  inch;  if, 
however,  the  proportion  of  face  or  backing  picks  to  ends 
is  different,  the  weave  must  be  constructed  accordingly,  in 
order  to  retain  the  symmetry  of  the  motive.  Fig.  20  ( a ) 
shows  a  motive  for  a  checker-board  effect,  the  light-blue- 
shaded  squares  indicating  the  motive  and  the  blank  squares 
the  ground.  Fig.  20  {b)  shows  the  check  effect  constructed 
with  the  weaves  shown  in  Fig.  19  (a)  and  (b),  Fig.  19  (a) 
being  placed  on  the  motive  and  Fig.  19  (b)  on  the  ground. 
If  this  design  were  woven  with  1  pick  of  white  and  1  pick  of 
green  filling,  a  white-and-green  check  would  be  made  on 
both  sides  of  the  cloth,  which  would  be  of  the  reversible 
type,  the  green  portion  on  the  face  covering  a  white  check 
on  the  back,  and  vice  versa.  Other  weaves  than  Fig.  19 
(a)  and  (b)  may  easily  be  made,  and  any  suitable  motive 
may  be  used  as  a  basis  for  combining  them  to  produce 
figured  filling  reversible  cloths. 


SO  WOOLEN  AND  WORSTED  PLY  WEAVES  13 


EXAMPLES  FOR  PRACTICE 

1.  Construct  a  filling-backed  weave  arranged  1  face,  1  back,  using 
the  W  regular  twill  as  a  face  weave  and  tying  the  backing  filling 
perfectly  on  each  warp  end. 

2.  Make  an  8-end  satin  filling  reversible  weave  arranged  1  face 
and  1  back. 

3.  Back  the  cassimere  twill  with  filling,  the  weave  to  be  arranged 
1  face,  1  back,  and  to  be  capable  of  being  woven  on  4  harnesses. 

4.  If  a  12-end  regular  twill  is  backed  with  filling,  the  weave  being 
arranged  1  face,  1  back,  1  face,  on  how  many  ends  and  picks  will  the 
design  be  complete,  supposing  that  only  1  repeat  of  the  face  weave 
is  shown? 

5.  Back  the  regular  twill  with  filling,  arranging  the  weave 

1  face,  1  back.  Tie  each  backing  pick  once  in  10  warp  ends. 

6.  Back  the  twill  twilled  to  the  left  with  the  8-end  satin,  arran¬ 
ging  the  design  1  face,  1  back,  and  being  careful  to  have  the  float  of 
face  filling  follow,  rather  than  precede,  the  tying  point. 


WARP-I5ACKEI)  FABRICS 

13.  Warp-backed  fabrics  are  cloths  constructed  with 
one  system  of  filling  yarn  and  two  systems  of  warp  yarn,  in 
which  one  system  of  warp  interlaces  with  the  filling  to  form 
the  face  of  the  cloth,  while  the  other  floats  on  the  back 
of  the  cloth  for  the  purpose  of  adding  weight  and  warmth 
to  the  fabric.  Warp-backed  fabrics  are  similar  in  construction 
to  filling-backed  fabrics,  with  the  exception  that  the  backing 
yarn  is  warp  instead  of  filling.  They  require  more  harnesses 
than  filling-backed  fabrics,  because  of  the  extra,  or  backing, 
warp,  but  on  the  other  hand  may  be  woven  on  single-box 
looms;  that  is,  if  the  filling  is  of  the  same  color  and  material 
throughout.  The  same  length  of  time  is  required  to  weave 
warp-backed  cloths  as  single  cloths,  since  the  former  require 
only  as  many  picks  as  the  latter;  a  longer  time  is  necessary, 
however,  for  the  weaving  of  filling-backed  fabrics,  owing  to 
the  extra  picks  of  backing  filling  that  must  be  put  into 
the  cloth. 


14  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


Color  also  can  be  applied  to  the  back  of  warp-backed 
fabrics  to  advantage,  since  stripe  effects  can  be  easily  made, 
while  with  filling-backed  cloths  only  bars  across  the  cloth 
can  be  produced,  and  this  is  rarely  a  satisfactory  method  of 
applying  color.  However,  particular  care  should  be  taken, 
in  all  cases  where  a  different  color  from  that  of  the  face  yarn 
is  applied  to  the  reverse  side  of  backed  clolhs,  to  have  all 
binding  points  perfect,  so  that  the  color  of  the  backing  yarn 
will  not  show  on  the  face  of  the  goods. 

In  many  warp-backed  cloths,  two  beams  are  required,  since 
the  backing  warp  is  often  a  coarser  yarn  and  also  interlaces 
differently  with  the  filling  than  the  face  warp,  except  in  the 
case  of  warp  reversibles.  It  is  necessary  for  the  backing 
yarn  in  a  warp-backed  fabric  to  be  harder  twisted  than  the 
backing  yarn  in  a  filling-backed  fabric,  since  there  is  always 
more  strain  on  warp  than  on  filling  yarn.  Thus,  it  will  be 
seen  that  warp-backed  fabrics  are  generally  harsher  and 
stiffer  feeling  goods  than  filling-backed  fabrics,  in  which 
soft-twisted  yarns  are  almost  exclusively  used  for  the 
backing  filling.  Warp-backed  cloths  are  largely  used  for 
producing  heavy  fabrics  with  a  cheaper  back  than  face,  as 
for  instance,  worsted  suitings  and  trouserings  with  a  fine 
worsted  face  and  woolen  back.  However,  if  very  cheap  and 
tender  yarn  must  be  used  for  the  back,  a  filling-backed 
weave  is  to  be  preferred. 

14.  In  constructing  weaves  for  this  type  of  fabric,  there 
are  several  important  points  that  should  be  noted:  (1)  The 
backing  warp  must  be  raised  over  a  pick  in  every  instance 
where  it  is  desired  to  bind  the  back  to  the  face  cloth.  With 
filling-backed  fabrics  the  reverse  is  the  case;  there  a  warp 
end  is  depressed  in  order  to  bind  the  extra  system  of 
yarn  to  the  cloth.  (2)  In  warp-backed  fabrics,  the  tying 
places  should  always  be  placed  between  two  warp  flushes  of 
the  face  cloth,  if  possible,  in  order  that  the  tying  may  not 
show  on  the  face  of  the  goods;  if  in  any  case  this  is  impos¬ 
sible,  the  backing  warp  should  be  raised  either  to  the  right 
or  to  the  left  of  a  face-warp  flush,  although  the  most  perfect 


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Fig.  28 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  15 


results  cannot  be  obtained  by  this  means.  (3)  If  there  are  a 
great  many  more  intersections  of  the  face  warp  with  the  fill¬ 
ing  than  of  the  backing  warp  with  the  filling  in  a  given  num¬ 
ber  of  picks,  or  if  one  series  of  warp  yarn  is  coarser,  it  will 
be  necessary  to  place  the  two  warps  on  separate  beams,  since 
the  take-up  of  the  warps  in  weaving  will  be  different.  (4)  It 
is  always  best  to  select  weaves  of  regular  structure,  such  as 
satins,  twills,  broken  crow,  etc.,  for  the  backing  weave,  so  that 
each  backing  end  will  have  the  same  number  of  interlacings. 
(5)  Care  should  be  taken  to  have  the  face  and  backing 
weaves  repeat  evenly  on  the  design,  so  that  the  number 
of  ends  in  the  complete  design  will  be  the  least  common 
multiple  of  the  number  of  ends  in  the  two  weaves;  that  is, 
supposing  the  design  to  be  arranged  1  face  and  1  back. 
Warp-backed  fabrics,  however,  are  often  arranged  with  2  ends 
of  face  and  1  end  of  back,  and  sometimes  with  2  ends  of  face 
and  2  of  back.  Care  should  be  taken,  though,  in  any  case,  to 
have  the  face  and  backing  weaves  evenly  repeated. 

In  addition  to  the  above,  there  are  often  many  other  things 
to  be  considered  when  constructing  weaves  for  warp-backed 
cloths.  For  instance,  if  a  design  of  this  class  is  arranged 
1  face  and  1  back,  the  backing  warp  should  never  be  of 
heavier  yarn  than  the  face,  since,  if  this  is  the  case,  the  back 
is  liable  to  show  through  on  the  face  of  the  cloth.  If  the 
design  is  arranged  2  face  and  1  back  a  proportionately  heavier 
yarn  can  be  used  for  the  backing  warp.  If  cheaper  material 
is  used  for  the  backing  warp  and  the  cloth  is  to  be  fulled,  a 
backing  yarn  of  as  nearly  as  possible  the  same  fulling  prop¬ 
erties  as  the  face  yarn  should  be  used. 

15.  To  illustrate  the  method  of  constructing  a  warp- 
backed  weave,  suppose  that  it  is  desired  to  back  the  cassi- 
mere  twill  with  warp,  using  the  8-harness  satin  weave  on  the 
back  of  the  goods,  or  in  other  words  tying  the  backing  warp 
in  8-end  satin  order,  the  design  to  be  arranged  1  face  warp 
and  1  backing  warp.  As  the  backing  weave  in  this  case 
will  require  8  ends,  it  will  be  necessary  to  show  two  repeats 
of  the  face  weave  in  the  complete  design;  therefore,  the 


16  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


finished  weave  will  require  16  ends  and  8  picks.  The  first 
operation  is  to  shade,  or  in  some  manner  indicate,  the  back¬ 
ing  ends,  in  order  that  they  may  be  distinguished  from  the 
face  ends.  The  method  of  doing  this  is  shown  by  the  pink- 
shaded  squares  in  Fig.  21,  where  the  design  paper  is  prepared 
for  the  reception  of  the  face  weave.  Fig.  22  shows  the  cas- 
simere  weave,  which  is  used  for  the  face  weave  in  this  design, 
placed  on  the  face  ends.  The  final  step  is  to  place  the  back¬ 
ing  weave  on  the  design.  As  the  backing  weave,  which  is 
to  be  the  8-harness  satin,  must  flush  on  the  back  of  the  cloth, 
it  should  be  raised  only  once  in  8  picks  on  each  backing  end 
and  in  satin  order,  as  shown  by  the  red  squares  in  Fig.  23. 
The  method  of  raising  the  backing  warp  at  the  tying  places 
between  two  face-warp  flushes  should  be  noted  carefully,  the 
object,  of  course,  being  to  allow  the  flushes  of  face  warp  to 
cover  and  hide  the  tie. 

Fig.  24  shows  the  cassimere  twill  backed  with  warp, 
arranged  2  ends  of  face  and  1  end  of  back,  the  backing 
warp  being  tied  in  regular  twill  order.  BTg.  25  is  a  warp- 
backed  weave  having  a  4-harness  basket  face  weave  backed 
with  the  8-end  satin,  the  design  being  arranged  2  ends  of 
face  and  2  ends  of  backing  warp. 


WARI1  REVERSIHL.ES 

Id.  Double  warp-faced  fabrics  are  made  with  the 
reverse  face  put  on  with  warp  in  a  somewhat  similar  manner 
to  that  employed  in  filling-reversible  cloths,  and  like  them 
are  generally  made  with  satin  weaves,  the  face  warp  flushing 
on  the  face  of  the  cloth  and  the  backing  warp  on  the  back. 
Weaves  for  these  cloths  are  constructed  as  for  other  warp- 
backed  fabrics,  but  the  backing  warp  is  usually  of  as  good 
quality  as  the  face,  while  the  filling,  as  it  is  entirely  concealed 
in  the  fabric,  may  be  of  cotton  or  other  cheap  material. 
Since  both  the  face  and  backing  warps  interlace  with  the  fill¬ 
ing  in  the  sarpe  manner,  cloths  of  this  description  require 
only  one  beam  for  weaving.  Fig.  26  shows  a  5-harness  and 
Fig.  27  an  8-harness  warp  satin  reversible,  both  being 


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Fig.  30 

92  §  80 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  17 


arranged  1  face  and  1  back  and  both  having  perfect  tying 
places. 

17.  Figured  warp  reversibles  may  be  constructed  in  a 
similar  manner  to  that  employed  in  producing  figured  filling- 
reversible  effects,  with  the  exception  that  the  designs  are  con¬ 
structed  by  amalgamating  two  warp-reversible  weaves  instead 
of  two  filling-reversible  weaves.  The  design  is  usually 
figured,  according  to  a  given  motive,  with  these  two  warp 
reversibles,  one  of  which  is  arranged  to  throw  the  odd-num¬ 
bered  ends  on  the  face  and  the  even-numbered  ends  on  the 
back,  and  the  other  to  produce  the  opposite  effect;  thus,  if 
the  cloth  is  warped  1  white  and  1  black,  the  motive  will  be 
reproduced  in  white  on  a  black  ground  on  the  face  of  the 
cloth  and  in  black  on  a  white  ground  on  the  back  of  the  cloth, 
or  vice  versa.  Since  the  filling  is  entirely  hidden  in  the 
fabric,  cotton  filling  is  commonly  used;  but  the  warp  yarns 
should  be  of  equally  good  quality,  since  the  warp  alternately 
appears  on  the  face  and  back  of  the  cloth.  Any  two  warp- 
reversible  weaves  may  be  used  in  constructing  designs  of 
this  description,  but  those  complete  on  a  small  number  of 
ends  and  picks  will  be  found  most  convenient.  Fig.  28  ( a ) 
shows  a  warp-reversible  weave  constructed  with  the  5-harness 
satin  on  the  face  and  back,  while  Fig.  28  ( b )  shows  the  same 
reversible  weave  with  the  exception  that  in  (a)  the  odd-num¬ 
bered  ends  are  the  face  ends  and  the  even-numbered  ends 
the  backing  ends,  while  in  ( b )  the  reverse  is  true.  If  these 
designs  are  warped  1  white  and  1  green,  ( a )  will  produce  a 
cloth  with  a  white  face  and  a  green  back,  while  ( b )  will  pro¬ 
duce  a  cloth  with  a  green  face  and  a  white  back.  Therefore, 
if  these  two  weaves  are  combined  according  to  a  proper 
motive,  a  figured  effect  will  be  obtained. 

Suppose,  for  instance,  that  a  simple  checker-board  effect  con¬ 
sisting  of  square  figures  arranged  in  plain  order  is  desired;  then 
in  order  to  form  a  figured  warp  reversible  all  that  is  neces¬ 
sary  is  to  lay  out  the  motive  to  the  required  size  and  place 
Fig.  28  (a)  on  the  motive  and  Fig.  28  ( b )  on  the  ground,  or 
vice  versa.  When  arranging  the  motive  for  the  reception  of 


18  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


the  weaves,  it  should  be  enlarged  twice  as  much  warp-way 
as  filling-way,  since  warp-backed  weaves  arranged  1  face 
and  1  back  require  twice  as  many  ends  as  picks  to  give  the 
same  number  of  face  or  backing  ends  as  picks  per  inch.  If 
the  motive  is  not  laid  out  in  this  manner,  the  width  of  the 
check  or  other  figure,  as  the  case  may  be,  will  be  reduced 
one-half,  while  the  length  will  remain  the  same,  that  is,  if 
there  are  the  same  number  of  picks  as  face  ends,  which  will 
cause  it  to  appear  distorted.  Fig.  29  (a)  shows  the  motive 
for  the  desired  check  effect,  the  light-blue-shaded  squares 
indicating  the  motive  and  the  blank  squares  the  ground. 
Fig.  29  ( b )  shows  the  weave  for  the  check  effect  desired, 
constructed  with  the  weaves  shown  in  Fig.  28  (a)  and  (b) , 
Fig.  28  (a)  being  placed  on  the  motive  and  Fig.  28  (b)  on 
the  ground.  If  this  design,  therefore,  is  warped  1  white 
and  1  green,  a  white-and-green  check  will  be  made  on  both 
sides  of  the  cloth,  which  will  be  of  the  reversible  type,  a 
green  check  on  the  face  covering  a  white  check  on  the  back, 
and  vice  versa. 

Other  weaves  than  Fig.  28  (a)  and  (b)  may  easily  be 
made,  and  any  motive  may  be  used  as  a  basis  for  combining 
them  to  produce  warp -reversible  fabrics.  For  instance,  if 
the  first  5  picks  of  Fig.  29  are  considered  as  the  complete 
weave  and  the  warp  is  arranged  1  white  and  1  green,  a  white- 
and-green  reversible  stripe  will  be  produced. 


WARP-BACKED  CLOTHS  WITH  A  WADDING  FILLING 

18.  In  some  cases,  the  required  weight  cannot  be 
obtained  by  backing  with  warp  alone  and  at  the  same  time 
the  appearance  and  texture  of  both  the  face  and  back  of  the 
fabric  be  retained.  When  this  is  the  case,  extra  picks  of  fill¬ 
ing,  known  as  wadding  picks,  may  be  inserted  in  such  a 
manner  that  they  will  not  show  either  on  the  face  or  back  of 
the  cloth.  In  order  to  obtain  this  result,  it  is  only  necessary 
to  raise  all  the  face  warp  and  depress  all  the  backing  warp 
when  the  wadding  pick  is  inserted,  thus  laying  the  pick 
between  the  two  warps,  but  not  interlacing  it  with  either. 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  19 


The  wadding  filling  may  be  of  any  cheap  material,  as  it 
does  not  show  at  all,  but  should  not  be  much  larger  in 
size  than  the  face  warp  if  a  level  cloth  is  desired.  Fig.  30 
shows  the  warp-backed  weave  shown  in  Fig.  23  arranged 
alternately  with  1  pick  of  face  filling  and  1  wadding  pick. 
The  blue  squares  show  the  face  warp  raised  over  the  wad¬ 
ding  picks. 


DRAFTING  OF  BACKED  WEAVES 

19.  Filling-backed  weaves,  since  they  contain  only  one 
system  of  warp  yarn,  may  be  drawn  through  the  harnesses, 
and  the  chain  and  drawing-in  drafts  constructed  exactly  the 
same  as  for  a  single  cloth.  In  these  weaves,  only  as  many 
harnesses  are  required  as  are  necessary  for  producing  the 
face  weave.  In  the  case  of  warp-backed  fabrics,  however, 
since  the  backing  warp  interlaces  with  the  filling  differently 
from  the  face  warp,  it  must  be  drawn  in  on  separate 
harnesses;  therefore,  in  these  fabrics,  one  set  of  harnesses  is 
required  to  produce  the  face  weave  and  an  additional  set  to 
govern  the  interlacings  of  the  backing  ends.  A  warp-backed 
weave  may  be  drawn  in  exactly  as  a  single  cloth,  if  it  is  so 
desired.  In  this  case,  if  the  weave  is  arranged  1  face  and 
1  back,  the  first  harness  will  be  a  face  harness,  the  second 
harness  will  have  the  backing  warp  drawn  through  it,  etc., 
each  alternate  harness  being  a  backing  harness;  that  is,  with 
a  straight  draft.  If  the  weave  were  arranged  2  face  and 
1  back,  1  backing  warp  harness  would  alternate  with  2  face 
harnesses.  This  method  of  drafting  is  adopted  in  some 
instances  in  connection  with  warp-backed  fabrics  of  simple 
design,  but  in  the  majority  of  cases  it  is  desirable  to  separate 
the  harnesses  for  the  backing  warp  from  those  through  which 
the  face  warp  is  drawn,  since  this  method  makes  the  harness 
draft  much  simpler  for  the  weaver,  thus  rendering  the 
liability  of  broken  backing  warp  ends  being  tied  in  on  face 
harnesses,  or  vice  versa,  less  probable. 

There  are  two  systems  of  separating  the  harnesses  through 
which  the  backing  warp  is  drawn  from  those  through  which 


92—19 


20  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


the  face  warp  is  drawn.  The  first  method  consists  of  draw¬ 
ing  the  backing  warp  on  the  back  harnesses  and  the  second 
of  drawing  the  backing  warp  on  the  front  harnesses.  Both 
of  these  systems  are  largely  in  use,  but  the  latter  method  is 
to  be  preferred,  as  by  this  means  the  backing  warp  is  more 
readily  accessible  to  the  weaver,  and  since  the  backing  ends 
are  frequently  of  poorer  material  and  break  oftener,  this  is 
somewhat  of  an  advantage.  For  the  same  reason,  namely, 
that  the  backing  ends  are  often  weaker  than  the  face  ends, 
it  is  an  advantage  to  place  the  backing  warp  on  the  front 
harnesses,  since  the  harnesses  in  the  rear  are  lifted  higher 
than  those  in  the  front  of  the  loom,  thus  bringing  more  strain 
on  the  yarn  drawn  in  on  those  harnesses.  If,  however,  the 
face  warp  has  a  fancy  pattern,  it  is  better  to  draw  it  on  the 
front  harnesses. 

20.  To  illustrate  the  method  of  making  the  drafts  for  a 
warp-backed  weave,  suppose  that  it  is  desired  to  construct 
harness  and  chain  drafts  for  Fig.  23.  The  first  step  is  to 
make  the  harness  draft,  which  is  accomplished  in  identically 
the  same  manner  as  with  single  cloth,  except  that  two  proc¬ 
esses  are  required  in  order  to  draft  both  the  face  and  backing 
weaves.  It  will  be  supposed  in  this  case  that  the  backing 
warp  is  to  be  drawn  on  the  front  harnesses.  The  drawing-in 
draft  for  the  backing  weave  will  therefore  be  made  first,  and 
as  in  this  case  the  backing  weave  is  an  8-harness  satin  it  will 
require  8  harnesses.  Proceed  exactly  as  in  single  cloth, 
taking  care,  however,  as  Fig.  23  is  arranged  1  face  and 
1  back,  to  leave  every  other  vertical  row  of  squares  of  the 
harness  draft  for  drawing  in  the  face  warp.  Next,  indicate 
the  drawing-in  draft  for  the  face  weave,  placing  it  above  the 
draft  for  the  backing  weave,  but  on  the  vertical  rows  of 
squares  reserved  for  the  face  warp.  As  the  face  weave  in 
Fig.  23  occupies  but  4  harnesses,  there  will  be  two  repeats 
of  the  face  drawing-in  draft  to  one  repeat  of  the  draft  for  the 
backing  weave. 

Fig.  31  ( a )  shows  the  drawing-in  draft  for  Fig.  23  with  the 
backing  warp  drawn  through  the  first  8  harnesses  and  the 


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§80  WOOLEN  AND  WORSTED  PLY  WEAVES  21 


face  warp  through  the  last  4  harnesses,  as  explained.  Care 
should  always  be  taken  to  arrange  the  alternation  of  the  face 
and  backing  ends  in  the  drawing-in  draft  exactly  the  same  as 
they  occur  in  the  weave;  that  is,  if  the  first  end  of  the  weave 
is  a  face  end,  the  first  end  of  the  drawing-in  draft  must  be 
drawn  through  a  face  harness,  and  if  the  second  end  of  the 
weave  is  a  backing  end,  it  must  be  drawn  through  a  backing 
harness.  Thus,  in  Fig.  31  (a),  the  end  drawn  through  the 
first  harness  is  the  first  backing  end,  which  is  the  second  end 
of  the  weave;  therefore,  this  end  occupies  the  second  verti¬ 
cal  row  of  squares  in  the  drawing-in  draft.  Having  obtained 
the  drawing-in  draft  as  shown  in  Fig.  31  (<?),  it  is  a  compara¬ 
tively  simple  matter  to  construct  the  chain  draft,  the  method 
being  identical  with  that  employed  in  a  single  fabric.  Since 
the  drawing-in  draft  is  arranged  to  separate  the  face  and 
backing  warps,  the  face  and  backing  weaves  are  separated  in 
the  chain  draft,  as  shown  in  Fig.  31  (b) ,  which  shows  the 
chain  draft  for  Fig.  23  with  the  warp  drawn  in  as  shown  in 
Fig.  31  (a). 

21.  If  it  is  desired  to  draft  Fig.  23  with  the’  back¬ 
ing  warp  drawn  in  on  the  back  harnesses  and  the  face 
warp  on  the  front  harnesses,  the  drawing-in  draft  will 
be  made  as  shown  in  Fig.  32  (a)  and  the  chain  draft  as 
shown  in  Fig.  32  (5).  The  method  of  constructing  the 
drafts  in  this  case  is  exactly  the  same  as  for  Fig.  31  (a) 
and  (b)  with  the  exception,  of  course,  that  in  this  case 
the  face  warp  is  drawn  in  on  the  harnesses  at  the  front 
of  the  loom. 

When  drafting  warp-backed  weaves  that  are  arranged 
2  ends  of  face  and  1  of  back,  the  same  methods  are  employed 
as  previously  explained,  except  that  2  face  ends  are  drawn 
consecutively  on  the  drawing-in  draft  in  accordance  with  the 
arrangement  of  the  face  ends  in  the  weave.  The  drawing-in 
draft  for  Fig.  24  is  a  draft  of  this  description,  as  shown  in 
Fig.  33  (a).  Fig.  33  (b)  shows  the  chain  draft  for  Fig.  24 
with  the  warp  drawn  through  the  harnesses  according  to 
Fig.  33  (a). 


22  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


EXAMPLES  FOR  PRACTICE 

1.  Back  the  ^  regular  twill  with  warp,  arranging  the  design 
1  face  and  1  back  and  tying  each  backing  end  perfectly. 

2.  Back  the  4233  regular  twill  with  warp,  arranging  the  ends 
1  face  and  1  back.  Tie  the  backing  warp  in  12-end  satin  order. 

3.  Make  a  design  for  a  warp-backed  fabric  having  the  ^y  regular 
twill  on  the  face  and  the  8-harness  satin  weave  on  the  back,  arranging 
the  warp  ends  1  face  and  1  back.  Show  harness  and  chain  drafts  with 
the  backing  warp  drawn  in  on  the  front  harnesses. 

4.  Back  the  ^y  regular  twill  with  warp  arranging  the  design  1  face, 
1  back,  1  face.  Tie  the  backing  warp  in  5-end  satin  order.  Show 
harness  and  chain  drafts  with  the  face  warp  drawn  in  on  the  front 
harnesses. 

5.  Make  an  8-end  warp  satin  reversible  arranged  1  face  and  1  back. 

6.  Back  the  31221g  regular  twill  with  warp,  arranging  the  design 
1  face  and  1  back.  Tie  the  backing  warp  in  regular  order,  each  end 
to  be  tied  once  in  12  picks. 


DOUBLE  AND  TRIPLE  CLOTHS 


DOUBLE  CLOTHS 

22.  The  term  double  cloth  includes  those  fabrics  that 
consist  of  two  separate  cloths,  which  may  be  woven  in  the 
loom  independently,  one  above  the  other,  or  which  may  be 
bound  together  by  allowing  threads  of  one  cloth  to  inter¬ 
lace  at  certain  intervals  with  those  of  the  other.  Two  sys¬ 
tems  of  both  warp  and  filling  are  required  for  the  production 
of  a  double  cloth,  while  for  a  backed  cloth  only  one  system 
of  backing  yarn  is  necessary.  A  double  cloth  may  be  con¬ 
sidered  as  a  combination  of  a  warp-  and  a  filling-backed  fabric; 
that  is,  it  may  be  considered  as  a  fabric  backed  with  both 
warp  and  filling,  requiring  not  only  extra  harnesses  in  the 
loom  but  also  extra  filling  and  generally  extra  shuttles.  In 
a  double  cloth,  however,  the  backing  warp  and  filling  inter¬ 
lace  with  each  other  according  to  a  definite  weave,  which 
may  be  the  same  as,  or  different  from,  the  face  weave.  If  a 


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Fig. 37 


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Fig. 38  Fig. 39 


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Fig.  40 


92  §  80 


80  WOOLEN  AND  WORSTED  PLY  WEAVES  23 


double  cloth,  therefore,  is  woven  without  binding,  or  tying, 
the  face  and  back  fabrics  together,  two  separate  cloths  will 
be  formed  in  the  loom,  one  on  top  of  the  other  and  only 
fastened  together  at  the  selvages.  On  the  other  hand,  if  a 
backed  fabric  were  woven  without  tying  the  backing  warp  or 
filling,  as  the  case  might  be,  the  face  cloth  would  be  formed 
perfectly,  but  the  backing  yarns  would  not  interlace  at  all. 

There  are  many  objects  that  lead  to  the  production  of 
double  cloths,  among  which  may  be  mentioned:  (1)  To 
reduce  the  cost  of  heavy-weight  fabrics  by  the  addition  of 
cheaper  material  to  the  back  of  the  goods;  (2)  to  produce 
heavy-weight  fabrics,  the  face  of  which  shall  be  composed  of 
comparatively  fine  yarns;  (3)  to  produce  double-faced  fabrics 
having  the  same  appearance  on  each  side;  (4)  to  produce 
double-faced  fabrics  having  a  different  appearance,  or  pat¬ 
tern,  on  each  side.  - 

23.  In  constructing  double-cloth  weaves,  they  may  be 
arranged  1  face  and  1  back  in  both  warp  and  filling,  or  2  face, 
1  back,  etc.  Sometimes  double-cloth  weaves  are  arranged 
1  face  and  1  back  in  the  warp  and  2  face  and  1  back  in  the  fill¬ 
ing,  or  vice  versa.  To  illustrate  the  method  of  constructing 
a  double-cloth  weave,  suppose  that  it  is  desired  to  back  the 
cassimere  twill  with  a  4-end  basket  weave,  the  design  to  be 
arranged  1  face  and  1  back  in  both  warp  and  filling,  and  tied 
in  8-end  satin  order.  Since  the  weave  is  to  be  arranged 
1  face  and  1  back  and  the  stitching  weave  alone  requires  8  ends 
and  8  picks,  16  ends  and  16  *picks,  or  8  backing  and  8  face 
ends  and  picks,  will  be  required  to  show  one  repeat  of  the 
completed  weave.  As  both  the  face  and  backing  weaves  are 
complete  on  4  ends  and  4  picks,  they  will  be  repeated  evenly 
on  the  8  face  and  backing  ends  and  picks,  respectively. 

The  first  step  in  the  construction  of  the  weave  is  to  indi¬ 
cate,  by  some  arbitrary  method,  which  ends  and  picks  are  to  be 
the  face,  and  which  the  backing,  ends  and  picks.  This  may  be 
conveniently  accomplished  by  shading  each  backing  end  and 
pick,  as  shown  by  the  pink-shaded  squares  in  Fig.  34.  The 
next  operation  is  to  place  the  face  weave  on  the  design 


24  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


paper,  as  shown  in  Fig.  35,  opening  it  out  both  warp-  and 
filling-way,  in  order  that  it  may  be  placed  on  those  ends  and 
picks  that  have  been  indicated  as  face  threads.  After  placing 
the  face  weave  on  the  face  ends  and  picks,  the  next  step  is 
to  place  the  backing  weave  on  those  ends  and  picks  that 
have  been  indicated  as  the  backing  ends  and  picks,  as  shown 
by  the  red  squares  in  Fig.  36.  In  order  that  the  backing 
filling  shall  not  interlace  with  the  face  warp  and  thus  show 
on  the  face  of  the  goods,  it  is  next  necessary  to  raise  every 
face  thread  on  each  backing  pick.  This  is  accomplished  by 
raising  the  face  warp  at  each  intersection  with  the  backing 
filling,  as  shown  by  the  blue  squares  in  Fig.  37.  The  weave 
completed  to  this  stage  would,  if  woven,  produce  two  perfect 
and  entirely  distinct  pieces  of  cloth,  one  woven  with  the 
eassimere  twill  and  the  other  with  the  4-end  basket  weave. 
In  order,  therefore,  to  so  amalgamate  these  two  fabrics  as 
to  produce  a  double  cloth,  it  is  necessary  to  bind,  or  tie, 
them  together. 

24.  There  are  two  methods  of  tying  ordinary  double 
cloths.  The  first,  and  the  one  adopted  in  the  majority  of 
cases,  is  to  raise  each  backing  end  in  regular  order  over  a 
face  pick.  Care  should  be  taken  in  doing  this  to  raise  the 
backing  end  in  the  same  manner  as  in  the  case  of  warp- 
backed  fabrics;  namely,  between  two  face  warp  flushes  on 
the  same  pick.  If  possible,  it  is  also  always  best  to  have  the 
tying  places  occur  on  each  of  the  backing  ends  an  equal 
number  of  times  in  a  given  nftmber  of  picks,  thus  making 
each  end  of  the  backing  warp  take  up  the  same  in  weaving. 
The  second  method  of  stitching  a  double  cloth  is  to  depress 
the  face  warp  threads  under  the  backing  filling,  making  the 
system  of  tying  as  uniform  as  possible  and  binding  each 
face-warp  thread,  in  order  that  the  face  warp  shall  take  up 
evenly  in  the  weaving.  When  tying  by  this  method,  the 
face  warp  should  be  depressed,  or  in  other  words  the  backing 
filling  should  be  raised,  in  such  a  manner  that  the  tying 
places  will  occur  between  two  flushes  of  the  face  filling,  as 
when  tying  filling-backed  fabrics.  This  method  of  tying 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  25 


double  cloth  is  not  used  so  much  as  the  first  method,  but  is 
useful  in  tying  cloths  that  have  a  predominance  of  filling  on 
the  face;  that  is,  in  cases  where  the  face  weave  is  a  filling- 
flush  weave. 

The  completed  design  for  the  double-cloth  weave  under 
consideration,  tied  by  raising  the  backing-vvarp  ends  over 
the  face  picks  in  8-end  satin  order,  as  indicated  by  the  green 
squares,  is  shown  in  Fig.  38.  As  each  tie  is  formed  by 
raising  the  backing  end  between  two  flushes  of  the  face 
warp  over  the  same  picks,  the  ties  will  be  concealed  from 
the  face  of  the  goods.  The  distribution  of  the  ties  in  this 
case  is  perfect,  since  each  backing-warp  end  has  the  same 
number  of  ties.  It  is  always  better  to  use  a  satin  order  for 
the  ties,  if  possible,  since  the  regular,  yet  distributed,  order 
of  the  binding  points  always  makes  a  perfect  cloth  with  no 
liability  of  its  cockling.  In  Fig.  39,  the  same  double-cloth 
weave  is  snown  as  in  Fig.  38  with  the  exception  that  the 
stitching  is  accomplished  by  allowing  the  backing  picks 
to  float  over  the  face  ends.  The  binding  is  shown  by  the 
green  dots,  but  it  should  be  remembered  that  in  this  case  it 
is  done  with  sinkers  and  not  with  risers,  since  each  tying 
place  represents  the  backing  filling  floating  over  the  face 
warp.  The  binding  is  shown  by  green  dots  simply  to  show 
the  position  of  the  tying  points  more  clearly;  the  squares 
thus  represented  should  actually  be  blank  squares. 

In  tying  double  cloths,  it  should  always  be  borne  in  mind 
that  in  all  perfectly  tied  double  cloths  there  are  the  same 
number  of  binding  places  on  each  backing  or  face  end, 
according  to  whether  the  cloth  is  tied  with  the  backing  warp 
or  filling,  and  that  when  the  face  weave  is  a  warp-flush  weave 
it  is  better  to  tie  the  cloth  by  raising  the  backing  warp,  as 
the  tying  will  then  be  covered  as  well  as  possible,  but  when 
the  dace  weave  is  a  filling-flush  weave,  it  is  better  to  tie  the 
cloths  by  raising  the  backing  filling,  as  the  flushes  of  face 
filling  will  then  cover  the  tying  places  to  the  best  advantage. 
The  binding  of  double  cloth  also  has  an  influence  on  the 
ultimate  character  of  the  fabric,  since  the  oftener  the  cloth- 
is  bound,  that  is,  the  more  tying  places  there  are,  the  harder 


26  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


and  firmer  the  fabric  will  feel,  while  if  tied  only  at  wide 
intervals  the  cloth  will  feel  loose  and  spongy. 

25.  If,  when  designing  a  double-cloth  weave  with  a  twill 
on  the  back,  it  is  desired  to  have  this  twill  run  to  the  right,  it 
must  be  made  to  run  to  the  left  on  the  design  paper,  and  vice 
versa.  If  it  is  desired  to  have  a  warp-flush  weave  on  the  back 
of  the  cloth,  the  reverse,  or  filling-flush,  of  the  desired  weave 
must  be  placed  on  the  design  paper.  The  reason  for  this  is 
that  the  backing  weave  will  always  be  seen  from  the  under, 
or  reverse,  side  after  the  cloth  is  woven.  Care  should  always 
be  taken,  when  arranging  the  weaves  for  a  double  cloth,  to 
arrange  them  in  such  a  manner  as  to  make  the  best  possible 
places  for  tying  the  cloths  together. 

26.  Double-cloth  weaves  are  often  constructed  so  as  to  be 
woven  with  twice  as  many  face  as  backing  ends  and  picks. 
Fig.  40  shows  a  weave  of  this-description  arranged  1  face, 
1  back,  1  face  in  both  warp  and  filling;  the  face  weave  is  the 
cassimere  twill  and  the  backing  weave  plain.  The  two  cloths 
are  bound  together  by  raising  the  backing  warp  over  the  face 
filling  in  8-end  satin  order.  The  double-cloth  weave  shown 
in  Fig.  41  is  arranged  3  face  and  1  back.  The  face  weave 
is  the  6-end  regular  45°  twill  S',  while  the  backing  weave 
is  the  cassimere  twill.  In  this  weave,  the  ties  are  evenlj7 
distributed  on  each  twill  line  of  face-warp  floats,  which  is 
accomplished  by  twilling  the  binding  points  in  the  opposite 
direction  to  the  twill  of  the  face  weave.  This  arrangement 
of  the  face  and  backing  yarns  is  suitable  for  goods  with  a 
fine  worsted  face  and  a  woolen  back;  the  method  of  construct¬ 
ing  the  weave  is  the  same  in  principle  as  one-and-one  and 
two-and-one  double-cloth  weaves. 

It  often  happens  that  the  same  proportion  of  face  and  back 
is  not  used  in  the  warp  as  in  the  filling  of  a  double  cloth. 
The  design  shown  in  Fig.  42  is  of  this  type,  as  it  is  arranged 
1  face  and  1  back  in  the  warp  and  1  face,  1  back,  1  face  in 
the  filling.  The  face  weave  is  the  cassimere  twill,  while  the 
•backing  weave  is  the  small  rib  weave  shown  in  Fig.  43.  The 
face  and  back  cloths  are  bound  together  in  8-end  satin  order 


80  WOOLEN  AND  WORSTED  PLY  WEAVES  27 


in  this  weave.  Another  double-cloth  weave  of  unevenly  bal¬ 
anced  construction  is  shown  in  Fig.  44,  in  which  the  warp 
is  arranged  1  face,  1  back,  1  face,  and  the  filling  1  face, 
1  back.  The  face  weave  is  the  cassimere  twill  and  the  back¬ 
ing  is  the  plain  weave;  the  two  cloths  are  tied  on  the  warp- 
flush  twill  line  of  the  cassimere. 

When  making  double-cloth  weaves  where  two  backing  ends 
are  placed  together,  care  should  be  taken  to  have  the  tying 
places  on  the  two  backing  ends  that  are  together  on  different 
picks,  so  as  to  allow  the  face  ends  to  cover  them  perfectly. 
In  the  weave  of  this  description,  shown  in  Fig.  45,  careful 
notice  should  be  taken  of  the  method  of  tying.  In  this 
design,  the  face  weave  is  the  regular  8-harness  twill  ^r,  while 
the  backing  weave  is  the  cassimere  twill. 


TYING  WITH  A  COTTON  WARP 

27.  Double-cloth  weaves  are  often  arranged  to  be  tied 
with  an  extra  system  of  cotton  threads  instead  of  with  the 
yarns  that  compose  the  face  and  back  cloths,  as  in  the  ordi¬ 
nary  methods  of  binding.  The  cotton  tying  threads  are 
generally  wound  on  a  spool,  which  is  placed  at  the  back  of 
the  loom  in  such  a  manner  as  to  let  off  the  tying  yarn  as  the 
cloth  is  woven.  The  tying  threads  are  arranged  in  the  weave 
so  as  to  float  over  every  backing  pick  and  under  every  face 
pick,  except  at  certain  points  where  they  are  raised  over  a 
face  pick  between  two  floats  of  the  face  warp  over  the  same 
pick  and  certain  other  points  where  they  are  allowed  to  be 
depressed  under  a  backing  pick  between  two  backing  ends 
that  are  also  depressed,  that  is,  that  float  on  the  back  of  the 
fabric.  The  alternate  interlacing  of  this  system  of  tying 
threads  first  with  the  face  and  then  with  the  back  fabric 
serves  to  bind  the  two  cloths  securely  together,  although  a 
fabric  tied  in  this  manner  is  never  so  firmly  bound  as  one 
tied  by  raising  the  backing  warp  or  filling  into  the  face  cloth. 
Fig.  46  shows  a  double-cloth  weave  having  the  cassimere 
twill  on  the  face  and  back  and  tied  with  a  cotton  warp.  The 
weave  is  arranged  1  face,  1  back,  1  tying  in  the  warp  and 


28  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


1  face,  1  back  in  the  filling.  It  will  be  noted  that  each  tying 
end  passes  over  1  face  pick,  as  shown  by  the  filled  green 
square,  and  under  1  backing  pick,  as  shown  by  the  shaded 
green  square  which  indicates  the  warp  depressed,  •  but  at 
all  other  points  lies  between  the  face  and  backing  picks, 
being  raised  over  the  backing  picks,  as  shown  by  the  blue 
dots,  but  floating  under  the  face  picks. 


DOUBLE-CLOTH  WEAVES  WITH  WADDING  TARNS 

28.  Double-cloth  weaves  are  sometimes  arranged  with  a 
wadding  warp  or  filling,  generally  the  latter,  for  the  purpose 
of  adding  weight  and  bulk  to  the  goods  by  inserting  cheaper 
material  between  the  face  and  back  cloths  in  such  a  manner 
that  it  will  not  show  on  either  the  face  or  back  of  the  fabric. 
A  double-cloth  weave  arranged  with  a  wadding  filling  is 
shown  in  Fig.  47.  Both  the  face  and  the  backing  weaves  in 
this  case  are  the  cassimere  twill,  and  the  cloth  is  tied  per¬ 
fectly  in  8-end  satin  order.  The  weave  is  arranged  1  face, 
1  back  in  the  warp  and  1  face,  1  back,  1  wadding  in  the  filling. 
When  a  pick  of  the  wadding  yarn,  which  is  usually  a  bulky 
slack-twisted  thread  of  cheap  construction,  is  inserted,  all  the 
face-warp  ends  are  raised,  as  shown  by  the  blue  dots,  and 
the  backing  warp  depressed,  so  that  the  picks  will  lie  in  the 
center  of  the  fabric  without  interlacing  with  either  the  face 
or  backing  warps  and  without  showing  on  either  side  of  the 
cloth.  By  this  means  the  weight  and  bulk  of  the  goods  may 
be  increased  very  cheaply,  and  at  the  same  time  the  appear¬ 
ance  of  the  fabric  suffers  no  deterioration. 

A  double-cloth  weave  having  the  same  construction  as 
Fig.  47,  except  that  a  wadding  warp  instead  of  wradding  filling 
is  used,  is  shown  in  Fig.  48.  This  weave  is  arranged  1  face, 
1  back,  1  wadding  in  the  warp  and  1  face,  1  back  in  the  fill¬ 
ing.  The  wadding  ends  are  raised  over  every  backing  pick, 
as  shown  by  the  blue  dots,  and  depressed  under  every  face 
pick,  so  that  they  lie  in  the  center  of  the  cloth  without  inter¬ 
lacing,  in  exactly  the  same  manner  that  the  wadding  filling 
is  inserted  in  Fjg.  47.  However,  it  is  not  possible  to  use  as 


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92  §  80 


Fig.  50 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  29 

• 

cheap  a  grade  of  yarn  for  a  wadding  warp  as  for  a  wadding 
filling  since  a  warp  yarn  must  always  possess  a  certain 
amount  of  strength  in  order  to  withstand  the  chafing  of  the 
harnesses  and  reed  during  the  weaving  process. 


CUT  DOUBLE  CLOTHS 

29.  Double-cloth  weaves  that  produce  fine  indented  lines, 
or  cut  marks ,  on  the  surface  of  the  fabric  are  known  as 
cut  double  cloths.  These  cut  marks  may  be  produced  in 
double-cloth  weaves  arranged  1  face  and  1  back  by  reversing 
the  weave  in  either  the, warp  or  filling  or  both,  the  principle 
being  similar  to  that  employed  for  producing  a  cut  mark  in 
the  filling-backed  weave  shown  in  Fig.  16.  The  cut  marks  are 
generally  arranged  so  as  to  run  lengthwise  of  the  fabric  or 
else  so  as  to  run  both  lengthwise  and  crosswise  and  produce 
checks  in  the  fabric.  Suppose,  for  example,  that  it  is  desired 
to  produce  a  cut  double-cloth  weave  in  which  the  cut  marks 
shall  run  in  the  direction  of  both  the  warp  and  the  filling. 

The  first  step  in  the  production  of  such  a  weave  is  to  shade 
the  design  paper  so  as  to  indicate  which  are  the  backing  and 
which  are  the  face  ends  and  picks,  at  the  same  time  arranging 
for  reversing  the  weaves  to  produce  the  cut  marks.  Fig.  49 
shows  the  design  paper  shaded  in  this  manner,  the  pink-shaded 
squares  indicating  the  backing  ends  and  picks;  it  will  be 
noticed  that  in  the  first  section  of  16  ends  the  odd-numbered 
picks  are  the  face  picks  and  the  even-numbered  picks  the  back¬ 
ing  picks,  while  in  the  second  section  of  16  ends  the  reverse 
is  true.  Thus,  the  first  pick  of  the  weave  is  a  face  pick  for 
16  ends  and  between  the  sixteenth  and  seventeenth  ends  passes 
to  the  back  of  the  cloth  and  becomes  a  backing  pick,  while  the 
second  pick  is  a  backing  pick  for  the  first  16  ends  and  then 
passes  to  the  face  of  the  cloth  and  becomes  a  face  pick.  The 
filling  passing  to  the  back  and  to  the  face  between  the  six¬ 
teenth  and  seventeenth  ends  throughout  the  cloth  will  produce 
a  fine  cut  mark  the  whole  length  of  the  piece.  In  a  similar 
manner,  the  first  end  of  the  weave  is  a  face  end  for  16  picks 
and  then  passes  to  the  back  of  the  cloth  and  becomes  a 


30  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


backing  end  for  16  picks,  while  the  second  end  is  a  backing 
end  for  the  first  16  picks  and  a  face  end  for  the  next  16  picks, 
and  so  on  throughout  the  weave.  Thus,  it  will  be  seen  that 
the  ends,  in  passing  from  face  to  back  and  back  to  face 
between  the  sixteenth  and  seventeenth  picks,  will  produce  a 
cut  mark  running  across  the  fabric. 

After  the  design  paper  is  shaded  in  this  manner,  it  is 
simply  necessary  to  place  a  face  weave  on  the  face  ends 
and  picks  and  a  backing  weave  on  the  backing  ends  and  picks 
and  to  raise  all  the  face  warp  on  the  backing  picks.  In 
Fig.  50  the  completed  design  is  shown,  the  2 11  a1 1  regular 
twill  being  used  for  a  face  weave  and  the  8-end  twill  basket  for 
a  backing  weave.  Generally,  it  is  unnecessary  to  introduce 
the  ordinary  double-cloth  binding  between  the  face  and  the 
back  cloths,  as  the  transposing  of  the  face  ends  and  picks  and 
backing  ends  and  picks  serves  to  bind  the  cloth  securely  on 
each  cut  mark  both  warp-way  and  filling-way;  but  in  case  the 
cut  marks  are  arranged  so  as  to  form  checks  of  any  consid¬ 
erable  area,  it  is  advisable  to  tie  the  face  and  backing  weaves 
in  each  section  exactly  the  same  as  in  an  ordinary  double  cloth, 
since  the  pockets  formed  between  the  cut  marks  will  other¬ 
wise  be  too  large  and  thus  render  the  fabric  somewhat  loose 
in  structure. 

The  cut  marks  can  be  made  much  more  prominent  by 
using  a  cut  check  weave  for  the  face  weave  or  for  both  the 
face  and  backing  weaves  and  reversing  the  warps  and  fillings 
at  the  points  where  the  cut  of  the  face  or  face  and  backing 
weaves  occurs.  By  this  means,  the  cut  marks  that  would 
naturally  occur  by  using  a  cut  check  weave  in  the  cloth  are 
greatly  accentuated  and  serve  to  divide  the  sections  of  the 
check  very  prominently.  Cloths  woven  with  weaves  like 
Fig.  50  are  generally  woven  white  and  then  piece-dyed  one 
solid  color,  and  as  both  series  of  yarns  appear  on  the  face, 
both  should  be  of  the  same  quality. 

30.  When  it  is  desired  to  produce  cut  marks  in  double¬ 
cloth  weaves  arranged  with  two  face  threads  alternating 
with  one  back  thread,  a  somewhat  different  method  is 


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Fig.  55 


92  §  80 


Fig.  54 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  31 


employed.  In  this  case,  if  a  cut  mark  running  lengthwise  of 
the  goods  is  desired,  2  ends  are  inserted  in  the  weave  that 
interlace  with  both  the  face  and  backing  filling  exactly  as  in 
a  single-cloth  weave;  or  if  a  cut  mark  across  the  cloth  is 
called  for,  2  picks  similarly  interlaced  with  both  warps  are 
inserted.  Fig.  51  is  a  double-cloth  weave  with  cut  marks 
made  by  this  method,  arranged  to  run  lengthwise  of  the 
fabric.  The  face  weave  in  this  case  is  an  angled  stripe  weave 
made  with  the  cassimere  twill  as  shown  in  Fig.  52,  while 
the  backing  is  the  plain  weave.  Wherever  it  is  desired  to 
make  a  cut  mark,  2  cutting  ends  are  substituted  for  2  face 
ends,  these  ends  being  arranged  to  interlace  alternately  ^ 
with  the  fillings,  as  shown  by  the  green  squares.  Thus,  cut 
marks  will  be  produced  between  the  second  and  seventy-first, 
twenty-sixth  and  twenty-ninth,  forty-first  and  forty-fourth, 
fifty-sixth  and  fifty-ninth  ends.  It  will  be  noticed  that  the  cut 
marks  are  so  arranged  as  to  coincide  with  and  accentuate 
the  cuts  that  would  naturally  occur  in  the  face  weave.  By 
arranging  a  weave  with  cutting  picks,  the  cut  marks  may 
be  made  to  run  across  the  fabric;  and  by  combining  both 
methods,  the  cut  marks  may  be  made  to  form  checks  in  the 
fabric.  A  cut  double-cloth  weave  arranged  in  this  manner 
is  shown  in  Fig.  53,  the  face  weave  being  a  cut  check  made 
with  the  Mayo  weave,  as  shown  in  Fig.  54,  and  the  backing 
weave  plain. 


DOUBLE  PLAIN  WEAVES 

31.  Double  plain  weaves,  although  constructed  simi¬ 
lar  to  ordinary  double-cloth  weaves,  are  never  tied  by  raising 
the  ends  or  picks  of  the  backing  fabric  into  the  face  fabric,  but 
always  by  reversing  the  positions  of  the  two  cloths;  that  is, 
by  bringing  the  backing  ends  and  picks  to  the  face  and  pass¬ 
ing  the  face  ends  and  picks  to  the  back.  A  double  plain 
fabric  consists  of  two  plain  cloths,  that  is,  cloths  woven  with 
the  ^r,  or  plain,  weave,  arranged  so  that  one  cloth  is  above 
the  other  in  the  loom  exactly  like  an  ordinary  double  cloth. 

A  weave  that  will  produce  this  effect  is  shown  in  Fig.  55, 
which  is  an  ordinary  double-cloth  weave  with  the  plain 


32  WOOLEN  AND  WORSTED  PLY  WEAVES  §  SO 


weave  on  the  face  ends  and  picks  and  also  with  the  plain 
weave  placed  on  the  backing  ends  and  picks.  The  face  and 
back  cloths  in  this  weave  are  not  tied  together,  and  so  two 
plain  woven  cloths  will  be  formed  in  the  loom,  one  above 
the  other,  as  shown  in  Fig.  56.  If  Fig.  55  were  warped  and 
woven  1  black,  1  red,  that  is,  if  all  the  face  ends  and  picks 
were  black  and  the  backing  ends  and  picks  red,  the  face  fab¬ 
ric  would  be  black  and  the  back  fabric  red,  as  indicated  in 
Fig.  56.  By  comparing  Figs.  55  and  56,  it  will  be  seen  that 
this  is  true,  since  the  first  pick  (black)  floats  under  the  first 
end,  over  the  second,  third  and  fourth,  under  the  fifth,  and 
over  the  sixth,  seventh  and  eighth,  while  on  the  second  pick 
(red),  the  filling  floats  over  the  fourth  and  eighth  ends  and 
under  the  first,  second,  third,  fifth,  sixth  and  seventh,  etc., 
the  filling  alternately  interlacing  first  with  one  cloth  and 
then  the  other,  each  color  being  always  interlaced  with  its 
own  color  of  warp. 

A  section  of  the  weave  shown  in  Fig.  55  is  shown  in  Fig.  57, 
and  indicates  the  interlacing  of  the  filling  with  the  warp. 
The  ends  are  numbered  from  1  to  8,  the  odd  numbers  being 
on  the  face  of  the  cloth  and  the  even  numbers  on  the  back. 
In  this  case,  however,  the  cloth  is  not  warped  and  picked 
1  black  and  1  red,  as  in  Fig.  56,  but  is  all  of  one  color,  being 
woven  from  one  shuttle,  so  that  the  two  cloths  will  be  tied 
at  each  edge,  thus  producing  a  tube,  or  bag,  in  the  loom. 
In  Fig.  57  only  8  ends  are  shown,  but  it  will  be  understood 
that  actually  there  are  a  large  number  of  ends  working  like 
ends  3,  4 ,  5,  and  6,  and  that  the  cloth  is  bound  only  on  each 
edge. 

If  it  is  desired  to  produce  a  cloth  that  is  interwoven  at 
one  edge  only,  and  will  thus  open  out  to  twice  its  width 
when  taken  from  the  loom,  2  picks  should  be  placed  in  the 
face,  then  2  picks  in  the  back,  instead  of  1  face  and  1  back. 
The  weave  for  accomplishing  this  is  shown  in  Fig.  58,  while 
a  section  of  the  fabric  is  shown  in  Fig.  59. 

32.  In  order  to  bind  double  plain  cloths  so  as  to  pro¬ 
duce  a  firm  double  fabric,  it  would  be  impractical  to  raise  a 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  33 


backing  warp  thread  to  the  face  on  account  of  the  impossi 
bility  of  finding  a  place  in  the  face  weave  that  would  cover 
the  tying  place  perfectly.  The  system  adopted,  therefore, 
for  amalgamating  the  face  and  back  fabrics  and  at  the  same 
time  for  producing  patterns  with  double  plain  weaves  is  to 
reverse  the  fabric;  that  is,  to  pass  the  face  cloth,  warp  and 
filling,  through  the  fabric  to  the  back  and  the  backing  yarns 
to  the  face. 

Double  plains  are  largely  used  in  producing  stripe  pat¬ 
terns,  it  being  possible  by  their  employment  to  produce  a 
heavy  fabric  of  fine  texture  with  stripes  of  solid  color  on 
both  sides  of  the  cloth.  As  a  rule,  the  filling  yarn  should 
be  finer  than  the  warp  yarn  in  this  class  of  fabrics,  and  there 
should  be  more  picks  than  ends  per  inch.  If  there  are  more 
ends  than  picks,  the  lines  or  stripes  of  color  will  not  be  so 
perfect  or  compact.  In  designing  a  double  plain  stripe,  the 
simplest  method  is  to  shade  the  ends  1  face  and  1  back,  as 
in  the  case  of  double  cloth,  reversing  the  weave  by  bringing 
2  back  or  2  face  ends  together.  By  this  means,  since  the 
warp  is  dressed  with  a  thread  of  one  color  alternating  with  a 
thread  of  another  color,  one  color  of  the  warp  is  brought 
to  the  face  in  one  portion  of  the  stripe  and  the  other  color  is 
brought  to  the  face  for  the  other  stripe.  The  filling  inter¬ 
laces  first  on  the  face  and  then  on  the  back  of  the  cloth, 
according  to  which  color  of  warp  is  on  the  face  or  back,  each 
pick  of  filling  always  interlacing  with  its  own  color. 

Fig.  60  shows  the  design  paper  shaded  for  a  double  plain 
stripe  arranged  in  the  warp  1  face  and  1  back  for  8  ends  and 
then  1  back  and  1  face  for  8  ends,  in  order  to  reverse  the 
weave  as  previously  explained.  The  first  pick  is  a  face  pick 
for  the  first  section  of  8  ends  and  a  backing  pick  for  the 
next  8  ends,  while  the  second  pick  is  the  reverse  of  the  first, 
so  that  the  filling  being  picked  alternately  with  different 
colors  will  interlace  with  its  own  color  of  warp  both  on  the 
face  and  back  of  the  cloth.  After  the  design  paper  is 
shaded,  it  is  simply  necessary  to  place  the  plain  weave  on 
both  the  face  and  the  backing  ends  and  picks  and  to  raise  the 
face  warp  on  the  backing  picks,  as  shown  by  the  blue  squares, 


34  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


in  order  to  complete  the  weave  as  shown  in  Fig.  61.  If  this 
weave  is  warped  and  woven  1  black  and  1  red,  black  and  red 
stripes  will  be  formed  on  both  sides  of  the  cloth,  the  black 
stripe  on  the  face  covering  the  red  stripe  on  the  back,  and 
vice  versa.  That  this  is  true  may  be  seen  by  examining  the 
section  of  this  design  given  in  Fig.  62,  which  shows  the 
method  in  which  each  pick  interlaces  with  the  warp.  From 
this  section,  it  will  be  seen  that  the  black  picks,  which  are 
put  in  the  cloth  alternately,  interlace  only  with  the  black,  or 
odd-numbered,  ends,  and  the  red  picks  interlace  only  with 
the  red,  or  even-numbered,  ends.  Where  the  odd-  and  even- 
numbered,  or  the  black  and  red,  ends  change  places  at  7,  8, 
9,  and  10,  the  two  cloths  are  tied  together.  The  cloths  are 
also  tied  together,  of  course,  at  the  fifteenth,  sixteenth,  first, 
and  second  ends. 

33.  Double  plain  fabrics  are  useful  in  producing  many 
other  varieties  of  patterns  besides  stripes.  Fig.  63  shows  the 
design  paper  shaded  for  a  double  plain  checker-board  effect, 
while  Fig.  64  shows  the  complete  weave,  the  face  and  back 
plain  weaves  being  placed  on  the  face  and  backing  ends  and 
picks,  respectively,  and  the  face  warp  raised  on  the  backing 
picks.  If  this  weave  is  warped  and  picked  1  black  and  1  red, 
a  reversible  checker-board  effect  consisting  of  black  and 
red  checks  on  the  face  and  back  of  the  goods  will  be  formed, 
the  black  checks  on  the  face  covering  the  red  checks  on  the 
back  of  the  goods,  and  vice  versa.  The  weave  is  bound  at 
the  first  and  thirty-second  and  the  sixteenth  and  seventeenth 
ends  and  picks  by  reversing  the  cloths.  This  will  have  the 
effect  of  forming  pockets  in  the  cloth,  each  check  being  the 
extent  of  the  pocket.  Double  plains  are  not  confined  to 
the  simple  effects  that  have  been  described  here,  as  solid 
twill  lines  of  color,  fancy,  or  figured  effects  may  be  readily 
obtained,  the  method  being  to  mark  out  the  desired  motive 
and  place  the  double  plain  weave  on  it,  then  reverse  the 
weave  around  the  outline  of  the  figure,  and  place  the  reverse 
double  plain  weave  on  the  ground.  By  this  means,  a  weave 
may  be  warped  and  woven  1  black  and  1  red  and  a  red  spot 


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92  §  80 


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92  §80 


Fig.  64 


80  WOOLEN  AND  WORSTED  PLY  WEAVES  35 


or  figure  on  a  black  ground  made  on  the  face  of  the  cloth, 
while  the  back  of  the  cloth  will  show  a  black  figure  on  a  red 
ground.  _ 

DRAFTING  OF  DOUBLE-CLOTII  WEAVES 

34.  In  constructing  the  harness  and  chain  drafts  for 
double-cloth  weaves,  the  same  methods  are  employed  as 
for  warp-backed  weaves.  Double-cloth  weaves  may,  of 
course,  be  drafted  exactly  the  same  as  single-cloth  weaves, 
but  for  the  reasons  given,  when  dealing  with  warp-backed 
weaves,  it  is  better  to  separate  the  harnesses  through  which 
the  face  and  backing  warps  are  drawn,  constructing  the 
chain  draft  in  each  instance  to  correspond  with  the  method 
adopted  for  drawing  in  the  warps.  The  following  drafts 
for  double-cloth  weaves  indicate  the  method  employed: 
Fig.  65  (a)  is  the  drawing-in  draft  and  Fig.  65  ( b )  the 
chain  draft  for  the  double-cloth  weave  shown  in  Fig.  38,  the 
backing  warp  being  drawn  on  the  front  and  the  face  warp  on 
the  back  harnesses.  Fig.  66  (a)  is  the  drawing-in  draft  and 
Fig.  66  ( b )  the  corresponding  chain  draft  for  Fig.  40,  the 
face  warp  in  this  case  being  drawn  on  the  front  harnesses 
and  the  backing  warp  on  the  back  harnesses. 

Reversible  weaves  in  which  the  warp  alternately  interlaces 
on  the  face  and  on  the  back  of  the  fabric  are  best  drafted 
exactly  like  single  cloths,  although  double  plain  weaves  are 
occasionally  drafted  so  that  one  color  will  be  drawn  on  the 
front  harnesses  and  the  other  on  the  back  harnesses. 


EXAMPLES  FOR  PRACTICE 

1.  Construct  a  double-cloth  weave  arranged  1  face  and  1  back  in 
both  warp  and  filling,  placing  the  8-harness  twilled  basket  on  the  face 
and  the  plain  weave  on  the  back  and  tying  the  backing  weave  perfectly 
to  the  face  in  8-harness  satin  order.  Make  harness  and  chain  drafts 
with  the  face  warp  drawn  on  the  front  harnesses. 

2.  Make  a  double-cloth  weave  arranged  1  face,  1  back,  1  face  in 
both  warp  and  filling,  placing  the  cassimere  weave  on  the  face  and 
the  4-end  basket  on  the  back  and  tying  the  backing  weave  perfectly 
to  the  face  in  8-end  satin  order.  Make  harness  and  chain  drafts  with 
the  backing  weave  drawn  on  the  front  harnesses. 


92—20 


36  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


3.  Make  a  double-cloth  weave  arranged  1  face  and  1  back  in  the 
warp  and  1  face,  1  back,  1  face  in  the  filling,  the  face  weave  to  be 
the  s-2Zt  regular  twill  and  the  backing  weave  plain.  Make  two 
repeats  of  the  face  weave  in  the  filling  and  alternately  tie  the  backing 
ends  to  the  face  weave  on  the  warp-flush  twill  line.  Make  harness  and 
chain  drafts,  the  backing  weave  to  be  drawn  in  on  the  back  harnesses. 

4.  Make  a  double-cloth  weave  arranged  1  face  and  1  back  in  both 
warp  and  filling,  the  face  weave  to  be  the  regular  twill  and  the 
backing  weave  to  be  a  5-harness  satin  showing  a  filling  flush  on  the 
back  of  the  cloth.  Stitch  in  regular  order  and  show  harness  and 
chain  drafts  with  the  face  warp  drawn  in  on  the  front  harnesses. 

5.  Make  a  double  plain  weave  on  16  ends  that  if  warped  and 
picked  1  black,  1  red  will  show  a  black  stripe  on  the  face  of  the  cloth 
three  times  the  width  of  the  red  stripe,  and  vice  versa-on  the  back — a 
red  stripe  three  times  the  width  of  the  black  stripe. 


TRIPLE  CLOTHS 

35.  Triple-cloth  weaves  are  used  for  heavy-weight 
woolen  goods,  such  as  golf  capes,  cloakings,  etc.  As  the 
name  indicates,  a  triple  cloth  is  composed  of  three  cloths 
woven  one  on  top  of  the  other  in  the  loom.  These  three 
cloths  are  known  as  the  face ,  center,  and  back  cloths.  The 
center  cloth  is  tied  to  the  face  cloth  and  the  back  cloth  to 
the  center  cloth,  thus  uniting  all  three  cloths  into  a  strong 
heavy-weight  fabric.  The  same  laws  regarding  tying  that 
were  laid  down  when  dealing  with  double  cloths  are  appli¬ 
cable  to  triple  cloths.  When  binding  the  back  to  the  center, 
however,  more  care  should  be  taken  to  bind  every  end  regu¬ 
larly  than  to  lay  any  stress  on  raising  the  backing  end 
between  two  warp  floats  of  the  center  cloth,  since  imperfect 
stitching  of  this  description  cannot  show  on  the  face  of  the 
goods.  Wherever  possible  the  back  cloth  should  also  be 
tied  to  the  center  cloth  so  that  the  tying  points  will  be  covered 
on  the  back  of  the  cloth. 

When  laying  out  triple-cloth  weaves,  it  is  always  better  to 
use  some  loose  weave  for  the  center  cloth,  since  this  cloth 
does  not  affect  the  appearance  of  the  goods,  but  simply  adds 
weight.  Satin  weaves  are  especially  appropriate  to  use  in 
this  connection.  The  first  step  when  making  a  triple-cloth 


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Fig. 65 


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Fig.  66 


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Fig.  67 


92  §  80 


§80  WOOLEN  AND  WORSTED  PLY  WEAVES  37 


weave  is  to  shade  the  design  paper,  and  for  this  purpose  two 
differently  colored  pencils  may  be  used,  one  to  shade  the 
center  ends  and  picks  and  the  other  to  shade  the  backing  ends 
and  picks.  As  more  familiarity  with  the  construction  of  both 
double  and  triple  cloths  is  obtained,  it  will  be  possible  to 
construct  the  simpler  weaves  without  shading  the  ends  and 
picks,  but  for  the  beginner,  or  with  complicated  and  large 
designs,  shading  is  to  be  preferred,  as  it  eliminates  the  possi¬ 
bility  of  error. 

To  illustrate  the  construction  of  a  triple-cloth  weave, 
suppose  that  it  is  desired  to  make  a  weave  having  the  cassi- 
mere  twill  on  the  face,  the  center  cloth  to  be  an  8-end  satin, 
and  the  back  of  the  fabric  to  show  the  4-harness  basket 
weave.  The  center  cloth  is  to  be  bound  to  the  face  cloth 
and  the  back  to  the  center  in  8-end  satin  order,  the  weave  to 
be  arranged  1  face,  1  center,  1  back,  in  both  warp  and  filling. 

The  first  step  is  to  shade  the  center  and  backing  ends  and 
picks  with  differently  colored  pencils  after  the  manner  shown 
in  Fig.  67,  in  which  the  light-blue-shaded  squares  represent 
the  center  ends  and  picks,  and  the  pink-shaded  squares  the 
backing  ends  and  picks.  The  next  process  is  to  place  the 
face,  center,  and  backing  weaves  on  their  respective  ends  and 
picks,  as  shown  in  Fig.  68,  where  the  face  weave  is  shown  in 
black,  the  center  weave  by  the  blue  marks,  and  the  backing 
weave  by  the  red-filled  squares.  After  placing  the  weaves 
on  the  design  paper,  the  cloths  are  tied  by  raising  the  center 
ends  over  the  face  picks,  arranging  the  binding  points  in 
8-end  satin  order  and  so  that  the  center  end  will  be  raised 
between  two  face  warp  floats.  This  binds  the  center  to 
the  face,  but  does  not  bind  the  back  cloth,  this  latter  being 
accomplished  by  raising  the  backing  warp  ends  over  the 
center  picks  in  a  similar  manner.  After  the  separate  cloths 
are  tied  together,  the  next  step  is  to  raise  each  face  end  over 
the  center  and  backing  picks  and  each  center  end  over  the 
backing  picks,  in  order  that  each  filling  may  interlace  with 
its  own  warp.  The  completed  triple-cloth  weave  with  each 
of  the  above  points  worked  out  is  shown  in  Fig.  69,  where 
it  will  be  noticed  that  the  binding  of  both  the  center  to  the 


38  WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


face  and  the  back  to  the  center  cloth  is  accomplished  in  satin 
order.  In  this  design,  the  black  squares  represent  the  face 
weave;  the  blue  squares,  the  center  weave;  and  the  red 
squares,  the  backing  weave.  The  green  squares  show  the 
method  of  stitching  the  center  to  the  face,  and  the  green 
dots  indicate  the  tying  of  the  back  to  the  center  cloth.  The 
black-shaded  squares  indicate  the  face  warp  raised  over  the 
backing  and  center  picks,  while  the  light-blue-shaded  squares 
indicate  the  center  warp  raised  over  the  backing  picks. 


DRAFTING 

36.  When  making  the  drafts  for  triple-cloth  weaves,  it 
is  always  better  to  separate  the  face,  center,  and  backing 
ends,  as  by  this  means  the  harness  draft  is  simplified  for 
the  weaver.  The  method  of  procedure  in  drafting  is  the 
same  as  that  employed  for  double  cloths,  except  that  three 
separations  are  made  instead  of  two.  Fig.  70  (a)  shows  the 
harness  draft  for  Fig.  69  with  the  face  ends  drawn  in  on  the 
first  4  harnesses,  the  center  on  the  next  8,  and  the  back  on 
the  last  8  harnesses.  The  chain  draft  for  Fig.  69,  according 
to  the  drawing-in  draft  in  Fig.  70  (a) ,  is  shown  in  Fig.  70  (b). 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  double  plain  stripe  weave  complete  on  8  ends  and 
4  picks,  which,  if  dressed  and  woven  1  red  and  1  black,  will  produce  red 
and  black  stripes  on  each  side  of  the  cloth. 

2.  Make  a  triple-cloth  weave,  the  face  to  be  the  regular  twill, 
the  center  weave  the  8-harness  satin,  and  the  backing  weave  the  cassi- 
mere  twill.  Tie  the  center  to  the  face  and  the  back  to  the  center  in 
8-harness  satin  order.  The  design  is  to  be  arranged  1  face,  1  center, 
and  1  back.  Give  harness  and  chain  drafts. 

3.  Make  a  double  plain  weave  for  a  stripe,  the  face  of  the  cloth  to 
show  8  red  ends,  4  black,  8  red,  and  2  black. 

4.  Make  an  original  triple-cloth  design. 

5.  Make  a  double  plain  checker-board  weave  on  24  ends  and  picks, 
that  if  dressed  and  woven  1  black  and  1  white,  will  show  solid  checks 
of  black  and  white  on  each  side  of  the  cloth. 


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Fig.  68 


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Fig.  70 


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w 


92  §  80 


LENO  WEAVES 


PLAIN  GAUZE 


INTRODUCTION 

1.  Leno  weaves  is  the  general  term  applied  to  all 
classes  of  weaves  of  a  peculiar  structure  in  which  some  of 
the  warp  ends  do  not  lie  parallel  with,  but  are  twisted 
partly  around,  other  ends.  This  principle  of  interweaving  is 
called  leno  weaving,  or  cross-weaving,  and  admits  of  a 
great  number  of  variations  and  combinations  in  developing 
ornamental  effects  decidedly  different  from  those  produced 
by  the  ordinary  method  of  fancy  weaving.  As  every  leno 
weave  is  what  is  termed  the  plain  gauze  weave,  or  some  vari¬ 
ation  or  enlargement  of  it,  or  a  combination  of  an  ordinary 
weave  with  it,  known  as  fancy  gauze,  the  subject  of  leno 
weaves  is  best  treated  in  its  natural  divisions — plain  gauze 
and  fancy  gauze. 


Fig  1 


2.  A  plain,  or  pure,  gauze  fabric,  as  represented  in 
Fig.  1,  is  one  in  which  an  end  of  the  warp  is  raised  on  one 
side  of  an  adjacent  end  on  one  pick  and  raised  on  the  other 

For  notice  of  copyright,  see  page  immediately  following  the  title  page 

2  81 


2 


LENO  WEAVES 


§81 


side  of  the  same  end  on  the  next  pick.  Thus  in  Fig.  1,  the 
end  a ,  which  is  known  as  the  doup  end,  is  raised  over  the 
first  pick  on  the  left  of  the  end  au  which  is  called  the  ground 
end;  but  on  the  second  pick,  a  is  raised  on  the  right  of  a,. 
It  will  also  be  noted  that  the  doup  end  a  is  raised  and  the 
ground  end  ax  depressed  on  every  pick,  the  formation  of  the 
cloth  being  made  possible  by  the  doup  end  crossing  the  ground 
end  between  the  picks.  The  weave  is  complete  on  2  picks, 
as  the  succeeding  picks  are  merely  repetitions  of  the  picks 
described.  Two  ends  only  are  required  for  the  completion 
of  this  weave,  since  the  entire  warp  is  composed  of  pairs  of 
ends,  each  pair  working  similarly  to  the  2  ends  described. 
Thus  throughout  the  width  of  the  warp  the  doup  ends  are 
raised  over  every  pick  inserted,  first  on  one  side  and  then  on 
the  other  side  of  the  ground  ends  around  which  they  twist. 
Between  the  picks,  each  doup  end  crosses  under  the  ground 
end  with  which  it  works. 

This  method  of  interlacing  results  in  several  features 
peculiar  to  leno  weaves.  Since  the  ends  of  the  warp  cross 
each  other  and  more  room  is  usually  allowed  them  than  if 
they  were  parallel  in  the  cloth,  an  openwork  effect  is  pro¬ 
duced.  This  open  effect  is  often  increased  by  leaving  more 
space  between  the  pairs  of  ends  than  is  actually  required  for 
their  proper  working;  this  is  done  by  leaving  certain  dents 
of  the  reed  empty.  Since  the  crossing  of  the  ends  prevents 
the  beating  up  of  the  filling  as  close  as  in  ordinary  cloths, 
the  openness  of  leno  fabrics  is  still  further  increased. 

The  crossing  of  the  warp  yarn  binds  the  warp  and  filling 
very  firmly  together,  so  that  the  plain  gauze  weave  makes 
the  strongest  cloth  that  can  be  woven  with  a  given  weight  of 
yarn.  A  gauze  fabric  may  thus  have  an  open,  or  lace-like, 
appearance,  be  light  in  weight,  and  yet  possess  sufficient 
strength  to  wear  well. 

A  peculiar  zigzag  effect,  due  to  the  twisting  of  the  ends, 
is  also  characteristic  of  leno  fabrics,  but  this  effect  is  much 
more  noticeable  in  fancy  gauze  than  in  plain  gauze  weaves 
for  reasons  that  will  be  obvious  as  these  weaves  are  studied 
in  detail. 


§81 


LENO  WEAVES 


3 


PEAIN  gauze  on  ceose-shed  eooms 


BOTTOM  DOTJPS 

3.  The  majority  of  gauze  fabrics  are  woven  on  dobby 
looms,  of  either  the  close-shed,  or  open-shed  type.  The  terms 
close-shed  dobby  and  open-shed  dobby  are  practically  synony¬ 
mous  with  the  terms  single-lift  dobby  and  double-lift  dobby 
so  frequently  used  in  the  cotton-mill  industry.  There  is 
some  confusion  as  to  the  exact  meaning  of  these  latter  terms, 
but  the  consensus  of  opinion  is  that  a  single-lift  dobby  is 
one  with  but  one  lifting  knife,  or 
bar,  while  a  double-lift  dobby  is 
equipped  with  two  knives.  Single¬ 
lift  dobbies  form  a  close  shed, 
while  double-lift  dobbies,  such  as 
are  ordinarily  used  in  cotton  mills, 
generally  form  open  sheds.  A 
close-shed  dobby  is  therefore 
usually  understood  to  be  a  single¬ 
lift  dobby,  while  the  term  open- 
shed  dobby  generally  infers  a 
double-lift  dobby. 

4.  Harnesses. — The  crossing 
of  the  ends  in  weaving  plain  gauze 
requires  extra  harnesses,  so  that 
4  harnesses  are  necessary,  as  well 
as  special  mechanisms,  to  control 
the  warp  yarn.  Two  of  the  har¬ 
nesses  are  of  the  usual  type,  but 
in  gauze  weaving  they  are  called 
the  ground  and  the  back  harnesses. 
of  peculiar  construction  and  are  called  the  standard  and  the 
doup  harnesses. 

The  standard  harness,  shown  in  Fig.  2,  is  like  an  ordi-* 
nary  harness  with  the  exception  that  each  heddle  has  two  eyes 
instead  of  one.  Sometimes  heddles  are  used  that  have  eyes 


The  other  harnesses  are 


4 


LRNO  WEAVES 


§81 


of  the  same  size,  but  heddles  with  the  upper  eye,  in  the  case 
of  bottom  doups,  considerably  larger  than  the  lower  are  often 
used  on  the  standard  harness.  A  standard  heddle  that  has 
one  eye  larger  than  the  other  will  not  chafe  the  doup  so  much 
as  when  both  eyes  are  of  small  size. 

The  doup  harness,  shown  in  Fig.  3,  consists  of  a  frame 
similar  to  that  of  an  ordinary  harness,  to  the  lower  part  of 
which  are  attached  worsted,  cotton,  or  linen  loops,  called 
doups — bottom  doups  in  this  case,  because  they  are 


attached  to  the  lower  part  of  the  harness  frame.  Worsted 
yarn  is  preferred  for  this  purpose  on  account  of  its  elasticity 
and  superior  wearing  qualities.  Heddles  are  not  used  on 
the  doup  harness.  In  order  to  provide  for  crossing  the  doup 
and  ground  ends  in  weaving,  it  is  necessary  to  combine  the 
doup  and  the  standard  harnesses  in  the  manner  shown  in 
Fig.  4.  In  attaching  the  doup  harness  to  the  standard  har¬ 
ness  one  end  of  the  doup  is  fastened  to  a  cord  stretched 
tightly  across  the  lower  part  of  the  doup-harness  frame; 


81 


LENO  WEAVES 


5 


the  other  end  is  passed  around  the  heddle  bar,  through  one 
eye  of  the  standard  heddle,  back  through  the  other  eye,  and, 
after  being  passed  around  the  heddle  bar  again,  is  fastened 
to  the  cord  beside  the  first  end.  It  is  not  essential  that  the 
cord  be  placed  in  the  exact  position  shown  in  Fig.  3.  It  may 
be  higher  up  and  nearer  to  the  heddle  bar,  or  it  may  be  about 
i  inch  above  the  heddle  bar;  in  fact,  the  latter  is  the  position 
preferred  by  many.  It  is  secured  on  each  side  either  by 
being  passed  through  holes  in  the  side  piece  of  the  harness 
frame  and  tied  there,  or  by  being  attached  to  hooks  fixed  on 
the  inside  of  each  side  piece  of  the  harness  frame.  Some¬ 
times  the  doups  are  merely  fastened  to  the  heddle  bar  and 
no  cord  is  used.  In  Fig.  3,  the  proper  method  of  passing 
the  doups  around  the  heddle  bar  of  the  doup-harness  frame 
is  shown;  in  Fig.  4,  and  other  figures,  the  doup  is  simply 
indicated  as  being  attached  to  the  cord.  No  ends  are  drawn 
through  the  standard  heddle,  but  the  doup  end  is  drawn 
through  the  loop  formed  by  the  doup  passing  through  the 
eyes  of  the  standard  heddle.  If  the  loop  is  on  the  right  of 
the  standard  heddle,  as  in  Fig.  4,  it  is  a  right-hand  doup;  if 
on  the  left,  it  is  a  left-hand  doup. 

5.  The  Slackener. — The  normal  position  of  the  doup 
end  is  on  one  side  of  the  ground  end,  but  on  every  alternate 
pick  it  is  crossed  under  the  ground  end  and  raised  on  the 
opposite  side.  Whenever  this  crossing  takes  place,  an  addi¬ 
tional  strain  would  be  brought  on  the  doup  ends  if  some 
arrangement  were  not  provided  to  compensate  for  the  extra 
length  of  warp  yarn  required  by  the  crossing  action  of  the 
doup  ends.  To  obviate  this  difficulty  a  mechanism,  called 
the  slackener,  easing  bar,  or  easer,  is  applied  to  the 
loom,  the  object  being,  as  previously  intimated,  to  give  a 
little  slack  to  the  doup  ends  when  they  are  raised  out  of  their 
normal  position.  This  arrangement  is  shown  in  Fig  5;  d  is 
a  rod  extending  the  width  of  the  loom,  attached  at  one  side 
to  an  arm  d3  and  at  the  other  side  to  a  similar  arm.  These 
arms  are  fastened  to  a  rod  d2,  to  the  end  of  which  nearest  the 
dobby  another  arm  dt  is  fastened.  The  arm  dl  is  connected 


6 


LENO  WEAVES 


§81 


Fig.  5 


§81 


LENO  WEAVES 


7 


by  a  strap  <4,  which  passes  over  a  separate  sheave  attached 
to  the  arch  of  the  loom,  as  shown  in  Fig.  5,  to  one  of  the 
harness  levers  of  the  dobby.  This  lever  is  usually  the  one 
farthest  from  the  fell  of  the  cloth  and  is  operated  in  the  ordi¬ 
nary  manner  by  the  dobby.  The  warp  in  weaving  a  plain 
gauze  is  usually  wound  on  one  beam  c,  and  the  ground  ends  a, 
passed  over  the  whip  roll  cx  in  the  ordinary  manner.  The 
doup  ends  a,  however,  are  passed  over  the  bar  d  of  the  slack¬ 
ened  thus  whenever  the  doup  ends  are  required  to  cross  the 
ground  ends  and  be  raised  out  of  their  normal  position,  they 
may  be  slackened  by  placing  a  peg  in  the  harness  chain  so 
as  to  raise  the  lever  that  operates  the  slackener.  When  this 
lever  is  raised,  the  bar  d  will  be  drawn  in  so  as  to  give  the 
required-  slack  to  the  doup  ends;  this  is  necessary  on  every 
alternate  pick  of  a  plain  gauze  weave. 

6.  Arrangement  of  Harnesses  and  Ends.  —  The 
crossing  of  the  doup  and  ground  ends  in  weaving  necessi¬ 
tates  a  peculiar  arrangement  of  the  harnesses  and  the  ends 
controlled  by  them.  The  4  harnesses  already  mentioned  are 
arranged  in  the  following  order,  beginning  at  the  front:  doup 
harness,  standard  harness  (through  the  heddles  of  which  the 
doups  pass),  ground  harness,  and  back  harness.  The  ground 
and  the  back  harnesses  are  usually  placed  as  far  back  as  pos¬ 
sible,  so  as  to  put  the  least  possible  strain  on  the  doup  ends 
when  the  crossing  takes  place.  In  the  European  method  of 
weaving  lenos,  the  relative  position  of  the  last  2  harnesses 
is  reversed;  but  they  are  operated  in  the  same  manner  as  in 
the  American  system  to  obtain  like  results. 

Fig.  6  shows  the  arrangement  of  the  harnesses  and  the 
method  of  drawing  in  the  doup  and  ground  ends.  The  doup 
end  a  is  first  drawn  over  the  slackener  rod  d ,  Fig.  5,  and 
through  the  back  harness  and  doup,  as  shown  in  Fig.  6. 
Although  this  end  is  usually  called  the  doup  end,  it  is  also 
called  the  douping  end,  crossing  end,  or  whip  end.  The  ground 
end  ax  is  drawn  in  the  usual  manner  over  the  whip  roll  and 
through  the  ground  harness,  but  is  then  crossed  over  the  doup 
end;  it  is  then  drawn  in  the  same  dent  in  the  reed  as  the 


8 


LENO  WEAVES 


§81 

doup  end.  This  reeding  is  absolutely  necessary  in  order  to 
allow  the  ends  to  cross  in  front  of  the  reed.  If  the  ground  end 
and  the  doup  end  were  not  drawn  through  the  same  dent  of 
the  reed,  whenever  the  doup  end  crossed  the  ground  end  the 
split  of  the  reed  would  prevent  the  crossing  from  passing 
forwards;  and  in  consequence,  no  shed  could  be  formed  in 
front  of  the  reed.  This  would  take  place  on  every  alternate 
pick  in  the  case  of  plain  gauze.  It  must  be  understood  that 


in  plain  gauze  every  alternate  end  throughout  the  body  of 
the  warp  is  a  doup  end  drawn  in  like  a,  and  that  the  other 
ends  are  ground  ends  drawn  in  like  a,,  though  for  conve¬ 
nience  of  explanation  only  2  ends  are  shown. 

7.  Operation  of  Harnesses. — The  operation  of  the 
harnesses  when  a  plain  gauze  fabric  is  being  woven  on  a 
close-shed  loom,  will  now  be  considered.  It  has  been  noted 
in  Fig.  1  that  the  doup  end  a  is  raised  on  every  pick,  but  on 


§81 


LENO  WEAVES 


9 


successive  picks  is  on  opposite  sides  of  the  ground  end.  On 
the  first  pick,  the  doup  end  is  raised  on  the  left  of  the  ground 
end  and  passes  straight  from  the  back  harness  to  the  fell  of 
the  cloth,  as  shown  in  Fig.  7.  On  this  pick  the  ground 
harness  remains  down,  as  does  also  the  standard  harness; 
the  back  harness  is  raised,  in  order  to  lift  the  doup  end,  and 
the  doup  harness  must  also  be  lifted,  so  that  the  doup  end 


in  rising  may  pull  the  doup  through  the  eyes  of  the  standard 
heddle.  If  the  doup  harness  were  not  raised,  the  back  har¬ 
ness  could  not  raise  the  doup  ends,  as  the  doups  would  hold 
them  down.  After  the  pick  has  been  inserted  in  the  shed, 
the  harnesses  are  returned  to  the  bottom  of  the  shed,  as 
shown  in  Fig.  6.  On  the  second  pick  the  doup  end  is  raised 
on  the  right  of  the  ground  end,  which  it  crosses  in  forming 


10 


LENO  WEAVES 


§81 


the  shed,  as  shown  in  Fig.  8.  The  doup  end  is  raised  on 
this  pick  by  lifting  both  the  doup  and  standard  harnesses, 
which  act  as  one.  As  the  ground  harness  is  down,  the  back 
harness  must  also  be  down  to  avoid  straining  the  doup  end, 
since  the  doup  end  crosses  the  ground  end  directly  in  front 
of  the  ground  harness. 

It  is  evident  that  when  this  crossing  of  the  ends  takes 
place  and  the  shed  is  formed  wholly  in  front  of  the  ground 


harness,  there  is  considerable  strain  on  the  doup  end.  The 
slackener,  shown  in  Fig.  5,  is  designed  to  relieve  the 
tension  of  the  doup  ends,  which  are  drawn  over  it,  by 
moving  the  rod  d  forwards  as  the  crossing  takes  place, 
'fhis  second  pick  completes  one  repeat  of  the  weave,  and 
after  it  has  been  inserted  the  doup  and  standard  harnesses, 
as  well  as  the  lever  of  the  dobby  that  operates  the  slackener, 


§81 


LENO  WEAVES 


11 


are  lowered  and  all  the  harnesses  are  level  at  the  bottom  of 
the  shed,  as  shown  in  Fig.  6,  ready  for  another  repeat  of 
the  weave. 

In  summarizing  the  operation  of  weaving  plain  gauze  on  a 
close-shed  dobby,  it  may  be  said  that  the  ground  harness  is 
never  raised  and  that  on  one  pick  the  doup  and  back 
harnesses  are  raised,  while  on  the  next  pick  the  doup  and 
standard  harnesses  are  raised  and  the  slackener  is  operated. 

8.  A  careful  study  of  Figs.  6,  7,  and  8  will  show  that  the 
several  harnesses  and  the  slackener  must  be  operated  as 
described,  in  order  to  form  properly  the  sheds  required  in 
weaving  plain  gauze  without  putting  undue  strain  on  the 
yarn  and  the  doups.  The  positions  of  some  of  the  harnesses 
might  be  changed  and  plain  gauze  could  still  be  woven,  but 
these  changes  would  be  of  no  particular  advantage  and  would 
involve  several  disadvantages.  As  has  already  been  stated, 
in  the  European  method  the  ground  ends  are  drawn  through 
the  last  harness  and  the  doup  end  through  the  next  to  the 
last  harness.  The  ends  controlled  by  these  harnesses,  how¬ 
ever,  are  operated  in  the  manner  described,  and  there  is 
practically  no  choice  between  the  convenience  and  effective¬ 
ness  of  the  two  systems.  The  doup  and  standard  harnesses 
could  be  reversed  in  position,  but  there  would  be  no  advan¬ 
tage  in  this  arrangement,  and  broken  doups  could  not  as 
easily  be  replaced. 

9.  When  the  crossing  of  the  doup  and  ground  ends 
occurs,  it  is  desirable,  in  order  to  put  the  least  strain  on  the 
ends,  to  reduce  as  far  as  possible  the  angle  formed  by  the 
ends  in  front  of  the  point  of  their  intersection,  which  is  just 
in  front  of  the  heddle  eye  through  which  the  ground  end  is 
drawn.  This  object  is  accomplished  by  placing  the  ground 
and  back  harnesses  as  far  back  in  the  loom  as  possible,  and 
the  doup  and  standard  harnesses  at  the  front.  In  weaving 
plain  gauze,  the  available  harnesses  between  the  doup  and 
standard  harnesses  at  the  front  and  the  ground  and  back 
harnesses  at  the  rear  are  not  used  at  all.  When  the  plain 
gauze  weave  is  combined  with  a  plain  or  a  fancy  weave  in 


12 


LENO  WEAVES 


§81 


the  production  of  fancy  gauze,  or  leno,  fabrics,  as  explained 
later,  the  ends  required  for  the  ordinary  weave  are  drawn  on 
the  inner  harnesses  between  those  that  are  required  at  the 
front  and  back  for  weaving  the  gauze. 

10.  The  doup  harness  is  so  constructed  that  when  it  is 
lifted  it  lifts  only  the  bottom  of  the  doup,  while  the  doup 
itself  must  be  lifted  from  the  top  either  by  the  doup  end, 
when  it  is  raised  by  the  back  harness  on  one  side  of  the 
ground  end,  the  standard  harness  being  down  and  the  doup 
sliding  loosely  through  the  eyes  of  the  standard  heddle,  or 
by  the  standard  harness,  when  it  raises  the  doup  end  on  the 
other  side  of  the  ground  end.  If  the  standard  harness  is 
raised,  in  order  to  raise  the  doup  end,  and  the  doup  harness 
is  not  lifted,  the  entire  weight  of  the  doup  harness  must  be 
sustained  by  the  doups;  thus  they  will  be  strained  or  worn 
out  very  quickly.  On  the  other  hand,  if  the  back  harness  is 
raised  without  raising  the  doup  harness,  the  doups  will  hold 
down  the  doup  ends,  thus  preventing  the  formation  of  a 
shed  and  producing  considerable  strain  on  the  doups  and  the 
doup  ends.  This  difficulty,  however,  is  obviated  if  the  doup 
harness  is  raised  when  the  back  harness  is  raised,  since 
the  only  strain  on  the  doups  is,  in  this  case,  their  own  weight 
and  a  slight  amount  of  friction,  which  is  unavoidable.  In 
view  of  these  facts,  it  is  evident  that  in  weaving  plain  gauze 
it  is  necessary  to  raise  the  doup  harness  on  every  pick, 
since  the  standard  harness  must  be  raised  on  one  pick  and 
the  back  harness  on  the  next  pick. 

Another  important  matter  connected  with  the  doup  and  its 
operation  is  the  relative  position  of  the  loop  and  the  standard 
heddle.  In  order  that  the  standard  and  doup  harnesses  may 
work  properly  in  weaving  plain  gauze,  it  is  necessary  to 
have  the  loop  of  the  doup  on  the  same  side  of  the  standard 
heddle  that  the  ground  end  is  drawn.  Thus  in  Fig.  6,  the 
ground  end  is  drawn  at  the  left  of  the  standard  heddle,  and 
the  doup  end,  drawn  through  the  back  harness  at  the  left  of 
the  ground  harness,  passes  under  the  ground  end  through  a 
left-hand  doup.  If  the  doup  and  ground  ends  were  drawn  at 


§81 


LENO  WEAVES 


13 


the  right  of  the  standard  heddle,  a  right-hand  doup  would 
be  required. 

11.  Methods  of  Representing  the  Weave,  and  Har¬ 
ness  and  Chain  Drafts. — The  study  of  gauze  weaving  brings 
up  for  the  consideration  of  the  designer  several  points  that 
are  not  involved  in  the  weaving  of  ordinary  fabrics.  Among 
the  most  important  of  these  are  the  representations  on  paper 
of  the  weave  and  the  harness  and  chain  drafts.  In  a  fabric 
woven  in  the  ordinary  manner,  each  end  of  the  warp  is  drawn 
through  one  harness  only  and  is  drawn  straight  from  the 
beam  through  the  harness  to  the  reed.  So  far  as  the  weave 
itself  is  concerned,  the  number  of  harnesses  used  is  the  same 
as  the  number  of  ends  in  the  warp  that  have  different  inter¬ 
lacings,  and  the  chain  draft  shows  the  operation  of  each 
harness.  In  gauze  fabrics,  the  ground  ends  are  drawn 
through  one  harness  of  the  ordinary  type,  while  the  doup 
ends  are  drawn  through  an  ordinary  harness  at  the  back, 
crossed  under  the  ground  ends,  and  also  drawn  through  the 
doups,  which  are  controlled  by  both  the  standard  and  doup 
harnesses  at  the  front.  Thus  in  weaving  plain  gauze,  twice 
as  many  harnesses  are  required  as  there  are  ends  that  work 
differently. 

In  order  to  show  clearly  the  method  of  drawing  in  the 
doup  and  ground  ends  and  their  operation,  a  special  system 
of  representing  the  harness  and  chain  drafts  must  be  used. 
In  making  the  harness  and  chain  drafts  it  is  necessary  to 
keep  in  mind  which  are  the  doup  ends  and  which  are  the 
ground  ends.  When  looking  at  the  surface  of  a  plain  gauze 
fabric  that  is  up  in  the  loom,  the  doup  end  is  the  one  that 
is  raised  on  every  pick,  but  on  successive  picks  is  raised  on 
opposite  sides  of  the  ground  end,  which  is  depressed  on 
every  pick. 

12.  The  Weave. — The  representation  on  paper  of  a 
gauze  weave  does  not  follow  the  rules  that  apply  to  the 
representation  of  the  weaves  of  ordinary  fabrics.  The  ordi¬ 
nary  method  makes  use  of  design  paper  divided  into  squares 
by  vertical  and  horizontal  lines.  A  vertical  row  of  squares  is 


92—21 


14 


LENO  WEAVES 


§81 


used  to  show  the  interweaving  of  a  warp  end  and  a  horizon¬ 
tal  row  shows  a  pick  of  filling.  Thus  each  square  represents 
the  intersection  of  an  end  and  a  pick.  If  the  square  is 
marked,  it  indicates  that  the  end  is  raised  over  the  pick;  if 
it  is  blank,  it  indicates  that  the  end  is  depressed  and  the 
filling  floats  over  it  at  that  point. 

This  method  of  representation  cannot  be  applied  to  the 
weave  in  gauze  fabrics.  The  first  pick  of  a  plain  gauze 
weave,  shown  in  Fig.  1,  may  be  represented  in  accord  with 
the  principles  of  this  method,  since  there  would  be  a  mark 
on  each  alternate  end,  showing  that  the  first,  third,  fifth,  and 
seventh  ends  were  raised  above  the  filling  and  the  second, 
fourth,  sixth,  and  eighth  ends  depressed,  just  as  in  the  rep¬ 
resentation  of  an  ordinary  plain  weave.  The  second  pick, 
however,  presents  several  difficulties,  since  the  first  end  is 
found  to  have  changed  its  place  and  to  have  assumed  a 


4th  Pick 

4th  Pick 

□BDBDBDB 

4th  Pick 

®D0D®D®D 

an  b  a j 

BdEQBDBD 

BUBSJBUBU 

■□aDBaaa 

B'  ISSUES  JB 

an®n®D@D 

1st  Pick 

a  a  a  a  < 

1st  Pick 

BDSOBUBD 

1st  Pick 

BDBUBl  JBU 

Fig.  9  Fig.  10  Fig.  11 


position  that  in  the  plain  fabric  would  have  been  occupied  by 
the  second  end,  which  has  also  changed  position  and  assumed 
the  place  of  the  first  end.  If  this  change  in  the  positions 
of  the  ends  is  ignored  and  the  interlacing  of  the  ends 
is  marked  on  design  paper  in  the  ordinary  way,  the  result 
will  be  a  series  of  black  marks  in  one  vertical  row  and  blanks 
in  the  next  vertical  row,  as  shown  in  Fig.  9.  This  will  show 
one-half  of  the  warp  ends  raised  and  the  other  half  depressed 
on  every  pick,  in  which  case  there  will  be  no  interlacing  of 
warp  and  filling,  and  hence  no  production  of  a  fabric.  If  the 
change  in  the  position  of  the  ends  is  taken  into  account,  but 
the  crossing  itself  is  ignored  and  the  ends  are  marked  accord¬ 
ing  to  their  position  in  the  cloth,  the  result  will  be  that  shown 
in  Fig.  10;  this  gives  the  impression  that  the  fabric  is  an 
ordinary  plain  cloth,  which  is  obviously  incorrect. 

13.  Two  methods  of  representing  gauze  weaves  on  paper 
suggest  themselves.  The  first  is  to  use  design  paper,  but  to 


§81 


LENO  WEAVES 


15 


adopt  different  marks  to  indicate  different  positions  of  the 
ends.  Since  the  ground  ends  are  never  raised,  the  squares 
showing  the  working  of  these  ends  are  left  blank.  Two 
marks  should  be  used  to  indicate  the  working  of  the  doup 
ends,  one  mark,  a  filled-in  square,  for  instance,  for  the  raising 
of  the  end  on  one  side  of  the  ground  end  in  its  normal  posi¬ 
tion,  and  the  other  mark,  a  dot,  for  the  raising  of  the  end  on 
the  other  side  of  the  ground  end  in  its  crossed  position. 
According  to  this  method,  the  weave  shown  in  Fig.  1  would 
be  represented  on  design  paper  as  shown  in  Fig.  11.  On  the 
first  pick,  the  first,  or  doup,  end  is  shown  raised  in  its  nor¬ 
mal  position,  in  this  case  on  the  left-hand  side  of  the  ground 
end,  and  the  next  end,  which  is  the  ground  end,  is  shown 
depressed,  as  indicated  by  the  blank;  the  other  pairs  of  ends 
are  repeats  of  the  first  and  second  ends.  On  the  second  pick, 
the  crossing  end  is  raised,  but  as  this  is  shown  by  a  dot 
instead  of  a  filled  square,  it  indicates  that  the  doup  end  is 
raised  on  the  opposite,  or  right-hand,  side  of  the  ground  end 
after  the  crossing  has  been  completed.  The  second,  or 
ground  end,  is  shown  depressed  by  means  of  a  blank,  as  on 
the  first  pick.  The  other  pairs  of  ends  are  repetitions  of  the' 
first  and  second  ends,  and  the  third  and  fourth  picks  are 
repetitions  of  the  first  and  second  picks,  since  the  plain  gauze 
weave  is  complete  on  2  ends  and  2  picks. 

The  system  just  described  is  not  one  that  gives  at  first 
glance  a  clear  conception  of  the  fabric  represented,  as  it 
requires  a  little  study  before  the  observer  can  correctly 
picture  the  fabric  in  his  mind.  It  may  be  made  more  clear  by 
the  use  of  color;  for  instance,  by  using  marks  of  different 
colors  to  represent  the  raising  of  the  crossing  end  in  different 
positions;  but  even  these  markings  are  not  satisfactory,  and 
this  system  is  therefore  not  commonly  used. 

14.  The  other  method  of  representing  a  gauze  weave  on 
design  paper  is  a  diagrammatic  one.  A  typical  representa¬ 
tion  of  such  weaves  that  would  be  entirely  satisfactory  and 
could  not  possibly  lead  to  error  or  misinterpretation  would 
be  to  make  a  sketch  or  drawing  of  the  ends  and  picks 


16 


LENO  WEAVES 


§81 


composing  the  fabric,  showing  their  relative  positions  to  one 
another  at  every  pick  and  the  crossing  between  the  picks; 
but  this  would  require  too  much  time  and  practice  and  some 
knowledge  of  freehand  drawing.  A  system,  therefore,  in 
common  use  is  a  modified  system  of  sketching  the  cloth, 
representing  it  by  a  diagram.  In  this  case,  lines  are  ruled 
on  a  piece  of  paper,  as  shown  in  Fig.  12  (a)  dividing  it  into 
equal-sized  squares.  Each  vertical  line  represents  a  ground 
end,  and  each  horizontal  line,  a  pick  of  filling.  This  differs 
from  the  regular  use  of  design  paper,  where  the  rows  of 
squares,  or  the  spaces  between  the  lines,  represent  ends  and 
picks,  respectively.  In  this  system  some  method  must  be 
adopted  to  indicate  when  an  end  is  up  and  when  it  is  down. 
Therefore,  at  each  point  representing  the  intersection  of 


(a)  (b) 

Fro  1? 


warp  and  filling,  a  short,  oblique  mark  is  made  where  the 
warp  is  raised  over  the  filling,  and  no  mark  where  the  filling 
is  over  the  waro.  By  such  a  system  an  ordinary  plain  weave 
(not  a  plain  gauze  weave)  would  be  shown  as  in  Fig.  12  (b). 
A  plain  gauze  cloth,  as  shown  in  Fig.  1,  is  shown  on  paper 
by  this  system  in  Fig.  12  (r).  Curved  marks,  either  in  black 
ink  or  colored  ink,  are  made  to  indicate  the  crossing  of  the 
doup  end  and  show  on  which  picks  it  is  raised  on  the  right 
of  the  ground  end  and  on  which  picks  it  is  raised  at  the  left 
of  the  same  end,  as  will  be  seen  by  comparison  with  Fig.  1. 

15.  Harness  Draft. — The  majority  of  gauze  fabrics 
are  woven  on  dobby  looms,  but  simple  leno  weaves  may  be 
made  on  cam-looms,  although  this  is  seldom  if  ever  done. 
Whether  cams  or  dobbies  are  used,  it  is  necessary  to  adopt 


81 


LENO  WEAVES 


17 


a  system  of  representing  the  method  by  which  the  ends  are 
drawn  through  the  harnesses,  so  that  when  prepared  by  the 
designer  it  may  be  intelligible  to  the  person  who  must  draw 
in  the  ends. 

In  making  a  harness  draft  for  a  gauze  fabric  it  is  neces¬ 
sary  to  keep  in  mind  the  construction  and  arrangement  of 
the  harnesses  and  the  method  of  drawing  in  the  ends,  since 
these  differ  radically  from  the  arrangement  of  harnesses 
and  method  of  drawing  in  employed  in  weaving  fabrics  of 
the  ordinary  construction.  It  is  customary  when  indicating 
the  drawing-in  draft  of  a  gauze,  or  leno,  fabric  to  make  a 
diagrammatic  sketch,  ruling  horizontal  lines  to  represent  the 


Fig.  13 

harnesses,  vertical  lines  to  represent  the  doup  ends,  and 
curved  lines  to  represent  the  ground  ends,  marking  with  a 
small  cross  where  each  end  is  drawn  through  its  respective 
harness.  Such  a  harness  draft  is  shown  in  Fig.  13,  the  hori¬ 
zontal  lines,  representing  the  harnesses,  being  marked  with 
the  names  Back ,  Ground ,  and  Doup  and  Standard;  the  ends 
drawn  through  each  harness  are  indicated  as  explained,  as 
is  also  the  position  of  the  doup  end  with  relation  to  the 
ground  end.  This  draft  shows  the  drawing  in  of  the  8  ends 
represented  in  Fig.  1,  with  the  harnesses  arranged  as  in  Fig.  6. 
In  Fig.  13,  it  will  be  noticed  that  the  doup  and  standard 


18 


LENO  WEAVES 


§81 


harnesses  are  shown  as  1  harness.  This  is  because  the  doup 
end  passes  through  the  loop  that  is  formed  by  the  doup  pass¬ 
ing  through  the  eyes  of  the  standard  heddle.  So  far  as 
position  is  concerned,  the  doup  and  standard  harnesses  may 
be  considered  as  one  when  drawing  in  the  ends,  but  it  must 
be  kept  in  mind  that  no  end  is  drawn  through  either  eye  of 
the  standard  heddle. 

There  are  numerous  modifications  of  the  draft  shown  in 
Fig.  13  in  use  in  different  mills,  one  of  them  being  like 
Fig.  13  with  the  exception  that  the  doup  and  standard 
harnesses  are  shown  separate.  A  very  common  method  of 
representing  the  harness  draft  is  similar  to  that  shown  in 
Fig.  13,  with  the  exception  that  the 
doup  end  is  shown  by  a  curved  line 
and  the  ground  end  by  a  straight  line. 
In  another  system,  the  draft  is  marked 
on  design  paper,  with  each  horizontal 
row  of  squares  denoting  a  harness  and 
each  vertical  row  representing  an  end, 
as  shown  in  Fig.  14,  which  gives  a 
draft  of  the  same  ends  as  those  shown 
in  Fig.  13,  the  doup  and  the  ground 
ends  being  drawn  through  the  twelfth 
and  eleventh  harnesses,  respectively, 
the  doup  ends  also  passing  through 
the  doups  connected  with  the  second,  or  standard,  harness, 
as  indicated  by  the  short  oblique  lines.  In  Fig.  14  it  will 
be  noticed  that  8  harnesses  have  been  skipped,  in  order 
to  allow  room  between  the  standard  and  ground  harnesses 
for  the  crossing  of  the  ends  to  take  place.  The  manner  in 
which  the  doup  and  ground  ends  that  work  together  are 
reeded  is  so  well  understood  by  the  person  who  draws  in  the 
ends  that  the  reeding  is  not  always  indicated.  If,  however, 
it  is  indicated,  the  ordinary  method  of  enclosing,  by  marks 
placed  below  the  harness  draft,  those  ends  that  are  reeded 
in  the  same  dent  is  usually  employed.  If  any  dents  are 
skipped  between  the  pairs  of  doup  and  ground  ends,  in  order 
to  produce  a  more  open  effect,  they  are  indicated  in  the 


Fig  14 


§81 


LENO  WEAVES 


19 


ordinary  manner  by  the  reed  draft  at  the  bottom  of  the 
harness  draft. 


4th  Pick 


■■□□□□□■ 

■□□□□□■□ 

■■□□□□□■ 

■□□□□□■□ 


16.  The  chain  draft  for  a  gauze  weave  is  shown,  in  the 
'same  manner  as  other  chain  drafts,  by  means  of  design  paper 
on  which  the  vertical  rows  of  squares  represent  the  harnesses, 
and  the  horizontal  rows,  the  picks,  or  bars,  of  the  harness 
chain.  A  marked,  or  filled-in,  square  shows  that  the  harness 
represented  by  the  vertical  row  of  squares  in  which  it  is 
placed  is  raised  over  the  pick  represented  by  the  horizontal 
row  of  squares  in  which  it  is  placed.  Three 
columns  must  be  reserved  to  indicate  the 
working  of  the  3  harnesses  required  to 
manipulate  the  doup  end;  also  one  column 
for  the  ground  harness;  and  one  column  for 
the  harness  lever  that  works  the  slackener. 

The  standard  and  doup  harnesses  each 

require  a  vertical  row  of  squares  to  show  their  operation. 

With  Fig.  13  for  the  harness  draft,  the  gauze  weave  shown 
in  Fig.  1  is  produced  by  the  chain  draft  shown  in  Fig.  15. 
In  Figs.  13  and  15,  the  number  of  harnesses  skipped  to 
allow  for  the  proper  crossing  of  the  ends  is  not  definitely 
indicated,  since  this  varies  and  does  not  affect  in  any  way  the 
drawing  in  and  operation  of  the  ends.  It  will  be  well  to 
keep  in  mind  the  fact  that,  although  the  harness  and  chain 
drafts  show  the  working  of  8  ends  for  4  picks,  the  weave 
itself  is  complete  on  2  ends  and  2  picks. 


Fig. 15 


TOP  DOUPS 

17.  While  all  the  explanations  given  have  referred  to  the 
production  of  plain  gauze  by  means  of  bottom  doups,  it  is 
also  possible  to  produce  plain  gauze  on  a  close-shed  dobby  by 
using  top  doups,  or  doups  that  are  attached  to  the  upper  part 
of  the  doup  harness.  Top  doups  have  certain  advantages 
and  disadvantages  in  weaving  leno  fabrics  on  open-shed 
dobbies,  which  will  be  considered  later  in  their  proper  place. 

So  far  as  the  weave  itself  is  concerned,  there  is  no  face  or 
back  to  a  plain  gauze  fabric,  since  both  sides  appear  alike. 


20 


LENO  WEAVES 


§81 


The  interlacing  of  the  doup  end  when  one  side  of  the  cloth 
is  viewed  is  .the  same  as  that  of  the  ground  end  when  the 
other  side  is  examined.  As  the  interlacings  are  the  same, 
the  deflection  of  the  doup  and  ground  ends  from  a  straight- 
line  is  equal.  Therefore,  a  study  of  the  use  ot  top  doups  will 
show  that  although  in  weaving  the  cloth  in  the  loom  the 
relative  positions  of  the  doup  and  the  ground  ends  are 
reversed,  the  product  will  be  a  cloth  that  when  turned  over 
will  show  the  same  interlacings  of  both  the  doup  and  ground 
ends  as  in  the  cloth  woven  with  bottom  doups.  In  the  fabric 
woven  with  top  doups,  the  same  similarity  in  appearance  of 
the  two  sides  will  be  noticed  as  was  observed  in  the  fabric 
woven  with  bottom  doups.  It  is  thus  apparent  that  it  is 
impossible  to  tell  from  £  sample  of  a  pure  gauze  fabric 
whether  it  was  woven  with  top  or  botton  doups,  or  right-  or 
left-hand  doups;  these  particulars  can  only  be  told  when  it  is 
known  which  side  of  the  fabric  was  uppermost  in  the  loom 
and  which  end  is  the  doup  end. 


18.  Construction  and  Arrangement  of  Harnesses. 

The  same  number  of  harnesses  is  required  in  weaving  a  plain 
gauze  fabric  with  top  doups  as  is  required  for  weaving  it 
with  bottom  doups.  The  ground  and  back  harnesses  are  of 
the  ordinary  construction.  The  standard  harness,  if  it  carries 
heddles  having  both  eyes  of  the  same  size,  is  also  the  same 
as  when  used  in  connection  with  bottom  doups,  but  if,  as  is 
sometimes  the  case,  it  carries  heddles  having  eyes  of  unequal 
size,  these  are  reversed,  so  that  the  large  eye  is  the  lower, 
and  their  action  in  conjunction  with  the  top  doup,  therefore, 
will  be  the  same  as  when  used  with  the  large  eye  uppermost, 
as  with  bottom  doups.  The  doup  harness  is  constructed  the 
same  as  when  used  with  a  bottom  doup,  with  the  exception 
that  the  doup  is  attached  to  the  top  of  the  harness  frame 
instead  of  to  the  bottom.  The  doup  and  standard  harnesses  are 
connected  by  carrying  one  end  of  the  doup  through  one  eye 
of  the  standard  heddle,  then  back  through  the  other,  and 
fastening  both  ends  of  the  loop  at  the  top  of  the  doup-harness 
frame.  When  top  doups  are  under  consideration,  a  left-hand 


81 


LENO  WEAVES 


21 


doup  is  one  in  which  the  loop  of  the  doup  is  at  the  left  of 
the  standard  heddle,  and  a  right-hand  doup,  one  in  which  the 
loop  is  at  the  right  of  the  standard  heddle,  exactly  the  same 
as  in  the  case  of  bottom  doups.  The  harnesses  are  arranged 
in  the  same  order  as  already  described  for  bottom  doups — 
the  doup  harness  at  the  front  of  the  loom,  the  standard  har¬ 
ness  next,  then  the  ground  harness,  and  finally  the  back 
harness  at  the  rear.  The  construction  and  arrangement  of 
harnesses  just  described  is  shown  in  Fig.  16. 


The  doup  and  ground  ends  are  drawn  through  the  har¬ 
nesses  when  top  doups  are  used  in  exactly  the  same  manner 
as  when  bottom  doups  are  employed,  with  the  one  exception 
that  when  top  doups  are  used,  the  ground  end  must  be 
crossed  under  the  doup  end  instead  of  over  it,  as  is  the  case 
with  bottom  doups. 

19.  Operation  of  Harnesses. — An  understanding  of 
the  operation  of  the  harnesses  when  weaving  plain  gauze  with 


22 


LENO  WEAVES 


§81 


bottom  doups  will  enable  one  to  comprehend  readily  their 
operation  when  producing  the  same  cloth  with  top  doups. 
When  top  doups  are  used  to  weave  gauze,  the  doup  end 
remains  down  and  the  ground  end  is  raised  on  every  pick. 

If  the  doup  end  a ,  Fig.  16,  is  to  be  depressed  under  the 
first  pick  on  the  left  of  the  ground  end  a,,  it  is  necessary 
that  the  back  harness  and  the  doup  harness  be  left  down,  the 


doup  slipping  through  the  eyes  of  the  standard  heddle  and 
allowing  the  back  harness  to  retain,  the  doup  end  a  at  the 
bottom  of  the  shed  as  the  standard  harness  is  raised.  The 
ground  end  <?,  is  raised  by  lifting  the  ground  harness,  but  in 
order  that  this  ifiay  be  done  the  standard  harness  must  also 
be  raised,  allowing  the  ground  end  to  rise  between  the  doup 
and  the  standard  heddle.  The  positions  of  the  harnesses 


§81 


LENO  WEAVES 


23 


and  ends  to  form  the  shed  for  this  pick  are  shown  in  Fig.  17. 
After  the  pick  has  been  inserted,  the  harnesses  are  brought 
level  at  the  bottom  of  the  shed,  as  shown  in  Fig.  16. 

On  the  next  pick,  the  doup  end  a  must  be  down  on  the 
opposite  side  of  the  ground  end  a,.  In  order  to  accomplish 
this  result,  the  doup  and  standard  harnesses  must  remain 


down.  Since  on  this  pick  the  doup  end  a  crosses  the  ground 
end  a,,  which  is  raised  by  lifting  the  ground  harness,  the 
back  harness  must  also  be  raised  to  avoid  straining  the  doup 
end.  As  the  crossing  of  the  ends  occurs  on  this  pick,  the 
doup  end  a  must  be  eased  by  the  operation  of  the  slackener. 
Fig.  18  shows  the  position  of  the  harnesses  and  ends  on  this 
pick.  The  leveling  of  the  harnesses  at  the  bottom  of  the 


Ground 


24 


LENO  WEAVES 


§81 


shed  brings  them  into  position  for  another  repeat  of  the 
weave;  the  weave  is  completed  by  the  2  picks  described. 

20.  The  Weave. — Since  the  method  of  operating  the 
doup  and  ground  ends  when  using  top  doups  differs  from 
the  method  necessary  when  using  bot¬ 
tom  doups,  the  representation  of  the 
working  of  these  ends,  or  the  weave, 
will  also  differ.  In  the  case  of  bottom 
doups,  the  representation  of  the  weave, 
Fig.  12  (c) ,  shows  the  doup  end  above 
every  pick  and  crossing  below  the 
ground  end  between  picks.  With  top 
doups  the  positions  of  the  doup  and 
ground  ends  are  reversed,  so  that  the 
representation  of  the  weave  must  show  the  doup  end  below 
every  pick  and  crossing  above  the  ground  end  between  picks. 
Fig.  19  illustrates  the  method  of  representing  the  gauze  weave 
shown  in  Fig.  1  if  it  is  woven  with  top  doups.  It  must  be 
remembered,  however,  that  if  Fig.  1  is  considered  as  being 


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s) 

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V 

V  ' 

\ v 

k v 

ft'*' 

N 

U 

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-  4lI*r>ic/e 


Fig. 19 


Buck 

Ground, 


Fig.  20 


woven  with  top  doups  the  end  represents  the  doup  end, 
since  when  top  doups  are  used  the  doup  end  is  below  every 
pick,  and  also  that  the  end  a  is  the  ground  end,  which  is 
raised  over  every  pick. 


§81 


LENO  WEAVES 


25 


21.  The  harness  draft  for.  top  doups  is  made  on  the 
same  principle  as  that  explained  for  bottom  doups  and  shown 
in  Fig.  13.  The  only  change  that  must  be  made  is  to  indi¬ 
cate  that  in  drawing  in  the  ends  the  doup  end  must  be 
crossed  above  the  ground  end.  Fig.  20  is  the  harness 
draft  for  the  8  ends  shown  in  Fig.  1  with  the  harnesses 
arranged  for  top  doups,  as  in  Fig.  16.  The  more  simple 
harness  draft  made  on  the  principle  exemplified  in  Fig.  14 
can  easily  be  changed  to  apply  to  top  doups  by  merely  indi¬ 
cating  on  the  draft  that  the  doup  end  is  crossed  over  the 
ground  end  when  drawing  in  the  warp  instead  of  under  it, 
as  in  the  case  of  bottom  doups. 

22.  The  chain  draft  for  top  doups,  giving  the  lifting  of 
the  harnesses  on  different  picks,  is  made  according  to  the 
method  explained  for  bottom  doups  and  shown  in  Fig.  15. 
When  weaving  with  top  doups,  however,  the  doup  end  is 
below  every  pick  that  is  inserted,  whereas 
in  the  case  of  bottom  doups  its  position  is 
above  every  pick.  It  is  therefore  evident 
that  in  order  to  produce  the  same  cloth  with 
top  doups  as  with  bottom  doups,  the  oper¬ 
ation  of  the  harnesses  must  be  reversed. 

If  on  any  pick  the  doup  end  is  to  remain 
down  in  its  normal  position,  the  doup  and  back  harnesses  are 
not  lifted,  but  the  standard  and  ground  harnesses  are.  On 
the  next  pick,  the  doup  end  must  be  crossed  over  and 
depressed  on  the  other  side  of  the  ground  end,  so  that  the 
doun  and  standard  harnesses  remain  down  and  the  ground 
and  back  harnesses  are  raised.  As  the  crossing  of  the  ends 
occurs  on  this  pick,  the  slackener  must  be  operated.  Aftei 
the  insertion  of  this  pick,  the  harnesses  are  returned  to  the 
bottom  of  the  shed,  ready  for  the  next  repeat  of  the  weave. 
According  to  this  method,  Fig.  21  is  the  chain  draft,  which 
must  be  used  in  connection  with  the  harness  draft  given  in 
Fig.  20  in  order  to  produce  the  fabric  shown  in  Fig.  1. 

23.  There  is  only  one  noticeable  advantage  that  top 
doups  have  o'ver  bottom  doups  in  weaving  plain  gauze;  that 


4th  pick 

□□□□□■■■ 
1st  Pick  □□□□□B BIB 


c  z  a  ~ 

Qtf]  O  CC  c/2 


Fig.  21 


26 


LENO  WEAVES 


81 


is,  that  they  are  more  easily  repaired  or  replaced.  As  top 
doups  are  attached  to  the  upper  part  of  the  doup  harness, 
they  are  easily  accessible  for  repairs  or  replacement;  but  in 
order  to  put  in  new  bottom  doups  it  is  necessary  for  the 
weaver  to  reach  down  through  the  warp  ends  to  attach  the 
loops  to  the  bottom  part  of  the  doup  harness. 

For  reasons  that  will  be  given  later,  bottom  doups  are 
in  more  common  use  in  weaving  leno  fabrics,  so  that  all 
references  in  this  Section,  unless  otherwise  stated,  should 
be  understood  to  apply  to  them. 


PLAIN  GAUZE  ON  OPEN-SHED  LOOMS 


ADDITIONAL  MECHANISMS  REQUIRED 

24.  The  description  given  so  far  refers  to  the  weaving  of 
plain  gauze  on  a  single-lift,  or  close-shed,  dobby,  in  which  all 
the  warp  ends  are  level  at  the  bottom  of  the  shed  after  the 
insertion  of  each  pick.  An  understanding  of  the  explanations 
that  have  been  given  will  show  that  in  order  to  make  the 
crossing  of  the  ends  required  in  weaving  plain  gauze,  it  is  nec¬ 
essary  to  have  the  doup  and  the  ground  ends  level  between 
the  insertions  of  successive  picks.  This  point  need  not  be 
considered  when  weaving  gauze  with  a  close-shed  dobby,  for 
on  such  a  loom  all  the  ends  are  lowered  after  each  pick. 

When  gauze  is  to  be  woven  on  a  double-lift,  or  open-shed, 
dobby,  this  point  is  important,  as  it  necessitates  the  use  of 
extra  mechanisms  to  bring  the  doup  and  ground  ends  level 
after  the  insertion  of  each  pick.  On  such  a  loom,  an  end  in 
the  top  shed  is  never  lowered  until  it  is  required  in  the  bottom 
shed  on  the  next  pick,  and  an  end  in  the  bottom  shed  is 
never  raised  unless  it  is  required  in  the  top  shed  on  the 
following  pick.  As  the  standard  and  back  harnesses  are 
alternately  raised  and  lowered  on  successive  picks,  their 
operation  presents  no  difficulty  with  this  type  of  loom. 
Since,  however,  the  doup  end  is  raised  and  the  ground  end 
depressed  on  every  pick,  additional  mechanisms  are  applied 
to  an  open-shed  dobby  to  raise  the  ground  harness  and  lower 


§81 


LENO  WEAVES 


27 


the  doup  harness  to  the  center  of  the  shed  and  return  them 
to  their  original  positions  between  the  insertions  of  successive 
picks  of  filling,  so  that  the  ground  and  doup  ends  may  meet 
and  cross  each  other  and  then  return  to  the  bottom  and  top 
sheds,  respectively.  Two  devices  are  used  to  enable  the 
crossing  of  the  doup  and  ground  ends  to  take  place;  namely, 
the  jumper,  to  operate  the  ground  harness,  and  the  yoke,  to 
operate  the  doup  harness. 

25.  The  Jumper. — The  most  .practical  movement  of 
the  harnesses  is  to  move  each  harness  one-half  of  the  full 
throw,  so  that  the  doup  and  ground  ends  are  leveled  at  the 
center  of  the  shed,  as  previously  described.  The  jumper 
is  designed  to  raise  the  ground  end  to  the  center  of  the  shed 
and  lower  it  again  to  its  position  in  the  bottom  shed  between 
successive  picks. 

Fig.  22  shows  this  mechanism.  To  the  dobby  rocker- 
arm  e  is  attached  an  arm  e ,  connected  by  a  rod  e 2  to  a 
togglejoint  e3  that  is  hinged  at  et.  This  joint  is  connected 
at  one  end  to  the  dobby  frame  at  /  and  at  the  other  end  to  an 
arm  g  attached  to  the  shaft  g,,  to  which  a  segment  h  is  set- 
screwed.  Fastened  to  the  top  of  the  segment  is  a  strap  h, 
connected  by  a  wire  h s  to  a  loop  h3  through  which  the  dobby 
lever  j  passes.  This  loop  must  be  at  least  equal  in  length  to 
the  distance  that  the  lever  will  travel  in  lifting  the  harness 
half  the  distance  of  the  shed,  so  as  to  allow  h3  to  move  as 
desired  in  weaving  without  interfering  with  the  lever  j, 
which,  when  plain  gauze  is  being  woven,  is  stationary.  This 
arrangement  of  the  dobby  lever  and  the  loop  h3  allows  the 
lever  to  raise  the  ground  harness,  to  which  h3  is  connected 
in  the  ordinary  way,  to  the  top  shed,  as  is  often  required 
when  weaving  fancy  gauze,  or  leno,  patterns,  in  the  manner 
to  be  described  later. 

The  dobby  operates  in  such  a  way  that  the  top  and  bottom 
arms  of  the  rocker  e  move  alternately  outwards  and  inwards 
on  successive  picks.  This  motion  is  such  that  e3  has  a 
vertical  movement,  being  raised  on  one  pick  and  lowered  on 
the  next  pick.  Fig.  22  shows  the  position  of  the  dobby 


28 


LENO  WEAVES 


§81 


when  the  shed  is  formed  and  the  rod  e2  is  in  its  lowest 
position.  As  the  rocker  moves  so  as  to  form  the  next  shed, 
the  rod  <?2  rises  until  it  occupies,  at  the  central  point  of  its 
rise,  the  position  shown  in  dotted  lines.  This  movement 
has  forced  the  togglejoint  e*  and  the  arm  g  into  the  positions 
shown  by  dotted  lines.  Since  g  and  h  are  both  fastened 
to  gu  the  segment  h  has  been  moved  to  the  right,  thus  lifting 


the  ground  harness  half  the  height  of  the  shed.  As  the  rod  e 2 
continues  to  rise,  it  will  push  the  togglejoint  e3  still  higher, 
but  after  it  has  passed  its  central  position,  it  will  draw  the 
arm  g  to  the  left,  causing  the  segment  to  move  in  the  same 
direction,  so  that  when  the  rod  e 2  has  reached  the  limit  of  its 
upward  throw,  the  segment  has  reached  its  former  position 
and  lowered  the  ground  harness  to  the  bottom  shed. 


§81 


LENO  WEAVES 


29 


During  the  movement  of  the  dobby,  a  new  shed  has  been 
formed  for  the  next  pick,  so  that  it  will  be  evident  that  the 
desired  result — that  of  raising  the  ground  harness  to  the 
center  of  the  shed  and  lowering  it  again — has  been  accom¬ 
plished  in  the  same  time  that  it  takes  for  a  harness  to  change 
from  one  shed  to  the  other.  From  this  description  it  is 
evident  that  on  the  next  pick  the  movement  of  the  segment 
and,  consequently,  of  the  ground  harness  will  be  the  same 
as  that  already  described,  although  in  this  case  the  rod  e2 
will  move  downwards.  The  jumper  thus  gives  automatically 
all  the  movement  required  by  the  ground  harness,  bringing 
it  from  the  bottom  shed  to  the  center  and  lowering  it  again 
between  successive  picks.  Sometimes  a  spring,  as  shown  in 
Fig.  22,  is  attached  at  one  end  to  the  dobby  lever  j  and  to 
the  upper  part  of  the  frame  of  the  loom  at  the  other  end, 
by  means  of  a  cord  or  strap.  This  keeps  the  dobby  lever  in 
place  when  the  jumper  is  in  operation. 

26.  The  Yoke. — In  weaving  plain  gauze  on  an  open- 
shed  loom,  the  doup  end  must  also  receive  a  movement 
equal  to  half  the  height  of  the  shed,  being  lowered  from  the 
top  shed  to  the  center,  to  meet  and  cross  the  ground  end, 
and  then  raised  again  between  the  insertions  of  successive 
picks.  The  device  by  which  this  movement  is  accomplished 


is  called  the  yoke  and  is  shown  in  Fig.  23.  The  regular 
harness  straps  are  attached  to  the  doup,  or  first,  harness, 
but  these,  instead  of  being  fastened  to  the  harness  lever,  are 
attached  to  the  loop  u3  of  the  yoke.  The  hook  u1  is  held  in 
one  of  the  notches  of  the  first  harness  lever  by  the  springs 
attached  to  the  bottom  of  the  harness.  The  standard  harness 
is  attached  to  the  second  lever  of  the  dobby  in  the  ordinary 
manner. 


92—22 


30 


LENO  WEAVES 


§81 


27.  In  weaving  gauze,  the  doup  harness  is  raised  without 
the  standard  on  the  first  pick,  and  the  doup  and  standard  har¬ 
nesses  are  both  lifted  on  the  second  pick.  The  first  lever  is 
operated  in  the  ordinary  manner,  and  in  rising  it  carries  with 
it  the  hook  u ,,  thus  raising  the  doup  harness. 

On  the  second  pick,  on  which  the  doup  and  the  standard  har¬ 
nesses  are  raised,  the  second  lever  must  be  raised,  thus  raising 
the  standard  harness  in  the  ordinary  way;  on  this  pick  the  first 
lever  is  lowered.  As  the  lever  moves  down,  it  allows  the 
yoke  to  move  and  lower  the  doup  harness.  When,  however, 
the  lever  has  reached  the  center  of  its  throw,  the  second 
lever,  which  is  rising,  catches  in  the  hook  u *  and,  by  carrying 
back  the  yoke,  raises  the  doup  harness  to  its  former  position 
in  the  top  shed. 

On  the  next  pick,  the  harnesses  must  be  brought  to  the 
position  described  for  the  first  pick;  this  is  accomplished  by 
raising  the  first  lever  and  lowering  the  second  lever.  When 
the  yoke  has  lowered  the  doup  harness  to  the  center  of  the 
shed,  by  the  lowering  of  the  second  lever,  it  is  caught  by  the 
first  lever  as  it  is  rising  and  raises  the  doup  harness  to  its 
position  in  the  top  shed.  From  this  description  of  the  action 
of  the  yoke  it  will  be  evident  that  the  doup  harness  will  be 
up  on  every  pick,  but  between  successive  picks  will  drop  to 
the  center  of  the  shed  and  rise  to  the  top  shed  again. 

Thus  the  jumper  and  yoke  give  to  the  ground  and  doup 
harnesses  the  peculiar  motions  that  are  necessary  if  plain 
gauze  is  to  be  woven  on  an  open-shed  dobby.  These  move¬ 
ments  of  the  harnesses,  by  raising  the  ground  end  and  lower¬ 
ing  the  doup  end,  bring  the  ends  level  at  the  center  of  the 
shed,  allowing  the  crossing  to  take  place,  and  then  carry  the 
ends  back  to  their  original  positions  in  time  for  the  insertion 
of  the  next  pick.  This  whole  operation  is  accomplished  in 
the  same  time  that  would  be  required  for  a  harness  operating 
in  the  ordinary  way  to  move  from  the  top  to  the  bottom  shed, 
or  vice  versa. 

28.  Harness  and  Chain  Drafts. — When  plain  gauze 
is  woven  on  an  open-shed  dobby  with  the  jumper  and  yoke 


81 


LENO  WEAVES 


31 


attachments,  the  warp  is  drawn  through  the  harnesses  exactly 
the  same  as  though  a  close -shed  dobby  were  used;  that  is, 
the  harness  draft  is  the  same  in  both  cases. 

The  chain  draft.,  however,  is  different  from  that  used  on  a 
close-shed  dobby.  The  jumper  gives  automatically  the  neces¬ 
sary  movement  to  the  ground  harness,  so  that  in  making 
the  chain  draft  for  weaving  plain  gauze  on  an  open- 
shed  dobby,  the  squares  that  correspond  to  the  ground 
harness  require  no  marks.  In  making  a  gauze  fabric  on  the 
machine  under  consideration,  the  ground  harness  need  not 
be  connected  to  any  harness  lever.  It  is  usually  so  con¬ 
nected,  however,  when  weaving  fancy  gauze,  or  leno,  in  the 
manner  to  be  described  later,  in  order  to  allow  the  ground 
end  to  be  raised  above  the  pick,  as  required,  independently 
of  the  action  of  the  jumper.  The  harness  to  which  the 
jumper  is  connected  is  sometimes  indicated  on  the  chain 
draft,  often  by  the  letter  /  above  the  row  of  squares  devoted 
to  that  harness. 

With  an  open-shed  dobby  the  working  of  the  doup  harness 
must  be  indicated  in  a  different  manner  from  that  used  for  a 
close-shed  dobby.  If  the  doup  harness  were  marked  as  in 
the  latter  case,  it  would  remain  in  the  top  shed  and  the  ends 
could  not  cross.  If,  however,  the  lever  operating  the  doup 
harness  is  raised  only  on  alternate  picks,  and  the  lever  opera¬ 
ting  the  standard  harness  is  raised  on  the  y 

other  picks,  the  doup  end  will  be  lowered 
between  picks,  so  as  to  allow  the  crossing 
to  take  place,  and  will*  be  raised  on  every 
pick  by  the  yoke,  which  is  alternately  raised 
by  the  doup  and  the  standard  levers.  The 
doup  harness,  therefore,  on  an  open-shed 
dobby  should  be  marked  to  rise  only  on  alternate  picks,  since 
the  standard  lever,  by  means  of  the  yoke,  will  raise  it  on  the 
other  picks. 

The  chain  draft  required  for  weaving  the  gauze  shown  in 
Fig.  1  on  an  open-shed  dobby  is  given  in  Fig.  24,  in  which 
one  method  of  indicating  the  harnesses  connected  by  the 
yoke  is  shown;  that  is,  by  the  letter  Y. 


1st  Pick 


□■□□□□□■ 

□□□□□■□ 

□■□□□□□■ 

□□□□□■□ 


3^-3 
SS* 
O  es  m 


Fig.  24 


32 


LENO  WEAVES 


§81 


GENERAL  CONSIDERATIONS 

29.  In  considering  the  weaving  of  plain  gauze  with  top 
doups,  the  statement  was  made  that  so  far  as  the  weave  or 
appearance  of  the  cloth  is  concerned,  it  is  impossible  to  dis¬ 
tinguish  the  face  from  the  back  of  the  fabric.  Theoretically, 
however,  the  side  of  the  fabric  that  shows  the  doup  end 
above  the  ground  end  between  picks  is  the  face.  This,  of 
course,  is  the  side  of  the  cloth  that  is  undermost  in  the  loom 
when  the  cloth  is  woven  with  bottom  doups  and  uppermost 
when  top  doups  are  used.  The  reason  for  this  designation 
is  that  the  doup  end  by  being  often  drawn  considerably  out 
of  a  straight  line  in  fancy  gauze  weaves,  because  of  its  cross¬ 
ings,  forms  a  distinct  pattern  on  one  side  of  the  cloth,  which 
is  not  produced  on  the  other  side,  this  side  being  therefore 
called  the  face,  although  in  the  case  of  bottom  doups  it  is 
the  side  that  is  undermost  in  the  loom.  This  difference 
between  the  two  sides  of  the  fabric  will  readily  be  discerned 
when  fancy  gauze,  or  leno,  weaves  are  considered. 

From  this  designation  it  will  be  evident  that  if  the  gauze 
shown  in  Fig.  1  was  woven  with  bottom  doups,  a  is  the  doup 
end  and  the  cloth  is  woven  face  down;  if  it  was  woven  with 
top  doups,  <z,  is  the  doup  end  and  the  cloth  is  woven  face  up. 
In  weaving  fancy  gauze  it  is  an  advantage  to  weave  the  cloth 
face  side  up,  since  in  this  way  it  can  readily  be  seen  if  the 
pattern  is  not  weaving  properly;  but  as  top  doups  cannot  be 
used  for  weaving  all  fancy  gauze,  or  leno,  fabrics,  bottom 
doups  are  more  commonly  employed  and  the  cloth,  therefore, 
woven  face  down  in  the  loom.  In  weaving  plain  gauze, 
however,  there  is  no  advantage  in  top  doups  in  this  con¬ 
nection,  since  both  sides  appear  alike  and  broken  ends  are 
readily  detected.  Therefore,  the  only  important  advantage 
of  top  doups  in  weaving  plain  gauze  is  the  ease  with  which 
they  can  be  replaced  when  broken;  and  both  top  and  bottom 
doups  may  consequently  be  used  with  little  discrimination  in 
such  weaving  on  a  close-shed  loom. 

In  weaving  plain  gauze  on  an  open-shed  dobby,  the  only 
advantage  of  top  doups  would  still  be  their  easy  replacement. 


81 


LENO  WEAVES 


33 


As  this  advantage  is  so  slight  and  their  use  on  an  open-shed 
loom  would  necessitate  the  use  of  mechanisms  different  from 
the  yoke  and  jumper  used  with  bottom  doups,  in  order  to 
allow  the  doup  and  ground  ends  to  cross  between’  successive 
picks,  top  doups  are  seldom,  if  ever,  used  in  weaving  plain 
gauze.  These  remarks  concerning  the  use  and  limitations  of 
top  doups  in  weaving  plain  gauze  apply  equally  well  to  plain 
gauze  when  combined  with  other  weaves,  as  described  later 
in  the  consideration  of  fancy  gauze. 

Since  there  are  no  mechanisms  in  general  use  by  means  of 
which  plain  gauze  may  be  woven  with  top  doups  on  an  open- 
shed  loom,  the  use  of  these  doups  on  such  a  loom  is  practi¬ 
cally  limited  to  those  varieties  of  fancy  gauze  that  can  be 
woven  on  the  same  loom  by  bottom  doups  without  the  aid  of 
the  yoke  and  jumper;  that  is,  those  weaves  in  which  there  is 
at  least  1  pick  inserted  between  the  picks  on  which  the  doup 
end  appears  on  opposite  sides  of  the  ground  end. 

30.  A  careful  consideration  of  top  and  bottom  doups  will 
make  it  evident  that  any  gauze,  or  leno,  weave  that  can  be 
woven  with  top  doups  on  either  a  close-  or  an  open-shed 
loom  can  be  woven  with  bottom  doups,  but  that  the  use  of 
top  doups  is  limited  to  weaves  produced  on  a  close-shed 
loom  or  to  those  woven  on  an  open-shed  loom  in  which  the 
doup  and  ground  ends  are  not  required  to  cross  between 
successive  picks.  Because  of  their  greater  possibilities  in 
leno  weaving,  bottom  doups  are  in  more  general  use  than 
top  doups. 

Although  the  references  made  in  the  following  treatment 
of  fancy  gauze  will  be  understood  to  be  to  bottom  doups 
unless  otherwise  specified,  a  knowledge  of  the  facts  just 
presented  should  enable  the  possibilities  of  reproducing  the 
weaves  shown  with  top  doups  to  be  determined. 


34 


LENO  WEAVES 


8i 


/ 


FANCY  GAUZE,  OR  LENO 


METHODS  OF  PRODUCING  FANCY  GAUZE  EFFECTS 
31.  In  weaving  plain  gauze,  the  main  object  attained  is 
the  production  of  a  fabric  characterized  by  its  open,  or  lace¬ 
like,  appearance  and  by  its  great  strength  in  proportion  to 
its  weight.  In  such  a  cloth  the  twisting  of  the  ends  does 
not  produce  a  pattern,  or  a  figured  appearance.  Fancy  gauze, 
however,  while  it  retains  these  features  in  a  lesser  degree, 
is  characterized  chiefly  by  its  pattern,  or  figured  appearance, 
produced  by  enlargements  or  variations  of  the  plain  gauze 
weave  combined  with  each  other  or  with  weaves  produced 
by  the  ordinary  method  of  weaving.  A  sufficient  number 
and  variety  of  fancy  gauze  weaves  will  be  here  illustrated 
and  explained  to  give  an  understanding  of  the  methods 
employed  in  producing  the  almost  unlimited  number  of 
different  fancy  gauze,  or  leno,  patterns  that  are  met  with. 


COMBINATION  OF  RIGHT-HAND  AND  LEFT-HAND  DOUPS 

32.  One  of  the  most  effective  as  well  as  one  of  the  sim¬ 
plest  methods  of  producing  fancy  gauze,  or  leno,  designs 
consists  of  varying  the  manner  of  drawing  in  the  doup  ends; 
that  is,  drawing  a  part  of  the  ends  through  right-hand  doups 
and  others  through  left-hand  doups.  For  illustration,  sup¬ 
pose  that  the  entire  warp  is  composed  of  doup  and  ground 
ends,  the  doup  ends  being  drawn  through  right-hand  and 
left-hand  doups  alternately;  then  the  drawing-in  draft  will  be 
similar  to  that  shown  in  Fig.  25,  in  which  4  ends  constitute 
one  repeat  of  the  draft.  Considering  the  ends  in  the  order 
in  which  they  are  drawn  through  the  back  and  ground 
harnesses,  the  first  end  at  the  left  is  a  doup  end,  which  is 
drawn  through  the  back  harness,  then  crosses  under  the 


LENO  WEAVES 


35 


Bark 


Ground  wi 


Doup  and 
/Standard 


Fig.  25 


ground  end,  and  is  drawn  through  a  left-hand  doup.  The 
second  and  third  ends  are  ground  ends,  but  the  fourth  end, 
which  is  the  second  doup  end,  is  drawn  through  the  back  har¬ 
ness,  crosses  under 
the  ground  end, 
and  is  then  drawn 
through  a  right-hand 
doup.  Thus,  while 
the  first  doup  end 
is  drawn  through  a 
left-hand  doup,  the 
second  doup  end  is 
drawn  through  a 
right-hand  doup.  If, 
when  weaving  the 
cloth  with  the  ends  drawn  in  after  the  manner  shown  in 
Fig.  25,  the  ends  doup  on  every  other  pick,  as  in  pure  gauze, 
the  effect  produced  in  the  cloth  will  be  similar  to  that  shown 

in  Fig.  26,  where  it  will  be  seen  that 
when  one  doup  end  is  brought  up  on 
the  right  of  its  ground  end,  the  other 
is  brought  up  on  the  left  of  its  ground 
end.  When  it  is  stated,  as  in  the 
above  case,  that  the  ends  doup  on  a 
certain  pick,  it  is  meant  that  on  this 
pick  the  doup  and  standard  har¬ 
nesses  are  raised  together  so  that  the 
doup  end  crosses  the 
ground  end  and  is 
raised  on  the  oppo¬ 
site  side  from  that 
on  which  it  would  be 
raised  normally  by 
the  back  harness. 
The  chain  draft 
that  would  be  used  in  producing  the  weave  shown  in  Fig.  26, 
considering  that  the  cloth  is  woven  on  an  open-shed  dobby, 
is  shown  in  Fig.  27.  On  the  first  pick,  the  doup  and  back 


□■□□□□■ 

■□□□□■□ 

□■□□□□■ 

■□□□□■□ 


Fig.  26 


Fig.  27 


36 


LENO  WEAVES 


§81 


harnesses  are  raised,  which  will  have  the  effect  of  raising 
all  the  doup  ends.  As  shown  in  the  drawing-in  draft, 
Fig.  25,  the  first  doup  end  is  drawn  through  a  left-hand 
doup;  therefore,  when  the  doup  and  back  harnesses  are 
raised,  this  end  will  be  brought  up  on  the  left  of  its  ground 
end;  this  is  the  effect  shown  in  Fig.  26.  The  second  doup 
end  is  drawn  through  a  right-hand  doup;  therefore,  when 
the  doup  and  back  harnesses  are  raised  together,  this  end 
will  be  brought  up  on  the  right  of  its  ground  end,  as  shown 
on  the  first  pick  in  Fig.  26.  On  the  second  pick,  as  shown 
in  Fig.  27,  the  back  harness  remains  down,  while  the  doup 
and  standard  are  raised,  the  doup  being  raised  by  the  yoke 
as  the  standard  goes  up.  In  this  case  the  doup  end  drawn 
through  the  left-hand  donp  will  be  brought  up  on  the  right  of 
its  ground  end,  while  the  doup  end  drawn  through  the  right- 
hand  doup  will  be  brought  up  on  the  left  of  its  doup  end;  this 
is  the  effect  produced  on  the  second  pick,  as  shown  in  Fig.  26. 

All  figures  used  to  illustrate  the  effect  of  a  leno  draft  in 
the  cloth  can  give  merely  an  idea  of  the  manner  in  which  the 
ends  will  interlace  with  the  filling,  since  in  almost  every  case 
where  a  fancy  leno  effect  is  produced,  the  picks  as  well  as 
the  ends  are  so  pulled  out  of  a  straight  line  that  it  is  rather 
difficult  to  represent  them  by  the  ordinary  methods. 


EFFECTS  FORMED  BY  INSERTING  TWO  OR  MORE  PICKS 
BEFORE  DOUPING 

33.  Fig.  28  shows  another  method  of  forming  fancy  leno 
effects,  in  which  the  doup  end  is  made  to  cross  several  picks 
before  the  douping  takes  place.  Thus,  considering  the  bot¬ 
tom  pick  of  Fig.  28  as  the  first  pick  of  the  weave,  it  will  be 
seen  that  on  the  first  4  picks  the  doup  end  is  brought  up  on 
the  left  of  the  ground  end;  on  the  next  4  picks  it  is  up  on  the 
right  of  the  ground  end;  while  on  the  last  4  picks  it  is  up 
on  the  left  of  the  ground  end.  It  is  not  necessary,  of  course, 
to  have  exactly  this  order  of  interlacing  these  2  ends,  since 
the  doup  end  may  be  made  to  cross  as  many  picks  before 
douping  as  may  be  desired,  it  simply  being  necessary  to  build 


81 


LENO  WEAVES 


37 


the  chain  draft  to  give  the  desired  weave.  For  the  purpose 
of  illustration  it  will  be  assumed  that  the  doup  end  shown  in 
this  figure  is  drawn  through  a  left-hand  doup; 
consequently,  it  is  brought  up  on  the  right  of 
the  ground  end  when  douping;  that  is,  on  the 
fifth,  sixth,  seventh,  and  eighth  picks. 

The  chain  draft  for  Fig.  28  is  shown  in 
Fig.  29.  On  the  first  4  picks  the  doup  and 
back  harnesses  are  raised,  thus  causing  the 
doup  end  to  be  raised  at  the  left  of  the  ground 
end  on  these  4  picks,  as  shown  in  Fig.  28. 

On  the  next  4  picks  the  lever  that  actuates 
the  standard  harness  is  raised,  thus  lifting 
the  standard,  and  also  the  yoke  and  doup 
harness,  and  bringing  the  doup 'end  up  on 
the  right  of  the  ground  end.  On  these 
4  picks  the  slackener  is  also  operated  in 
order  to  ease  the  yarn.  On  the  last  4  picks 
the  same  harnesses  are  operated  as  on  the 
first  4  picks,  thus  producing  the  same  effect. 

In  this  design  a  number  of  picks  intervene 
between  the  crossing  of  the  2  ends;  thus,  on  the  first  4  picks 
the  harnesses  could  remain  in  the  same  posi¬ 
tion,  since  each  pick  of  filling  is  placed  in 
the  same  shed.  On  each  pick,  however,  the 
jumper  raises  the  ground  harness  from  the 
bottom  to  the  center  of  the  shed  and  then 
lowers  it  again  to  the  bottom.  This  action, 
of  course,  places  the  warp  yarn  drawn 
through  this  harness  in  the  proper  position 
to  have  the  filling  inserted,  but  produces  an 
unnecessary  movement  of  the  harness  and 
consequently  an  unnecessary  strain  on  the 
yarn.  This  positive  action  of  the  jumper  is  a  disadvantage 
when  producing  an  interlacing  similar  to  that  shown  in  Fig.  28. 

34.  Not  only  are  these  two  methods  of  producing  fancy 
leno  effects  frequently  adopted  separately,  but  they  are  also 


1st  Pick 


!□□□□■□ 

!□□□□■□ 

!□□□□■□ 

!□□□□■□ 


□■□□□□■ 

□■□□□□■ 

□■□□□□■ 

□■□□□□■ 

■□□□□■□ 

■□□□□■□ 

■□□□□■□ 

■□□□□■□ 


3  X!  o 

2S5 


Fig.  29 


Fig.  28 


38 


LENO  WEAVES 


81 


often  combined  in  the  same  cloth  to  produce  another  effect. 
This  will  be  found  to  be  true  with  all  the  weaves  that  will  be 
explained,  and  although  examples  of  every  case  may  not  be 
given,  it  should  be  understood  that  their  combination  is 
nevertheless  possible. 


WEAVES  IN  WHICH  THE  DOUP  AND  GROUND  ENDS 
WORK  PLAIN 

35.  Fig.  30  shows  a  weave  in  which  the  ground  and  doup 
ends  are  made  to  work  plain  for  a  certain  number  of  picks 
and  then  caused  to  doup.  Fig.  31  shows  the  chain  draft  for 
this  weave.  On  the  first  pick,  as  shown  in 
the  chain  draft,  the  ground  harness  is  low¬ 
ered,  while  the  doup  and  back  harnesses  are 
raised,  thus  causing  the  doup  end  to  be  over, 
and  the  ground  end  to  be  under,  the  pick  of 
filling.  On  the  second  pick  the  doup,  stand¬ 
ard,  and  back  harnesses  are  lowered,  while 
the  ground  harness  is  raised  by  lifting  the 
dobby  lever  to  which  it  is  attached  by  the 
lever  extending  through  the  long  loop  that  is 
a  part  of  the  connection  between  the  ground 
harness  and  the  segment  of  the  jumper 
arrangement.  Thus,  on  this  pick  the  ground 
end  will  be  over,  and  the  doup  end  under,  the  pick  of  filling, 
producing  a  plain  weave.  The  third  pick  is  like  the  first,  but 
on  the  fourth  pick  the  doup  and  standard  are  raised,  the 
ground  and  back  harnesses  are  lowered,  and 
the  slackener  is  operated,  thus  producing  a  «« 
crossing  of  the  ends.  The  next  2  picks  are 
simply  a  repetition  of  the  first  2  picks. 

Left-hand  doups  are  used  in  this  case,  since 
the  doup  end  is  brought  up  on  the  right  of 
the  ground  end  when  the  douping  takes  place. 

Right-hand  doups,  however,  could  be  used 
just  as  readily,  and  this  will  be  found  to  be  true  of  any  illus¬ 
tration  shown;  that  is,  the  crossing  may  be  made  either  from 
right  to  left  or  from  left  to  right,  provided  that  the  ends  are 


Fig.  30 


□□□□■□□ 

■□□□□■□ 

□■□□□□■ 

□□□□■□□ 


Fig.  31 


§81 


LENO  WEAVES 


39 


drawn  in  such  a  manner  as  to  meet  the  desired  require¬ 
ments.  With  weaves  similar  to  that  shown  in  Fig.  30,  the 
doup  end  should  always  be  over  the  filling  on  the  pick  imme¬ 
diately  preceding  and  following  the  pick  on  which  the  cross¬ 
ing  takes  place.  Thus,  in  Fig.  30,  on  the  fourth  pick  the 
douping  takes  place;  consequently,  on  the  pick  immediately 
preceding  this  pick,  or  the  third,  the  doup  end  is  over  the 
pick  of  filling.  The  same  is  true  with  regard  to  the  fifth  pick, 
which  is  the  pick  following  the  one  on  which  the  douping  takes 
place.  This  point  must  always  be  considered  when  making  a 
leno  weave  in  which  the  doup  and  ground  ends  work  plain 
throughout  a  part  of  the  pattern. 

36.  Harness  Draft. — When  it  is  desired  in  a  combina¬ 

tion  of  several  ground  ends  with  1  doup  end  to  have  the 
ground  ends  work  plain  during  a  part  of  the  weave,  it  is 
necessary  to  draw  each  end  that  works  differently  through  a 
separate  ground  harness.  If,  however,  it  is  desired  to  use 
these  ground  ends  simply  for  the  purpose  of  letting  them  all 
make  a  turn  with  the  doup  end  at  the  same  time,  they  may  be 
drawn  through  the  same  harness,  since  they  may  be  operated 
as  a  single  end.  _ 

WEAVES  PRODUCED  BY  TWO  OR  MORE  DOUP  ENDS  OR 
TWO  OR  MORE  GROUND  ENDS 

37.  Fig.  32  illustrates  the  manner  in  which  the  doup  end 
may  be  made  to  cross  more  than  1  ground  end  and  yet  have 
all  the  ends  in  the  weave  work  plain  in  those  parts  of  the  fabric 
where  it  is  desired  to  produce  plain  cloth.  On  the  pick  on 
which  the  douping  takes  place  the  doup  end  crosses  3  ground 
ends;  therefore,  in  the  drawing-in  draft  the  doup  end  must  be 
drawn  in  such  a  manner  that  it  will  pass  under  3  ground  ends 
between  the  back  harness  and  the  doup  and  standard  har¬ 
nesses.  Again,  since  there  are  3  ground  ends  crossed  by 
the  doup  end,  these  4  ends  must  be  drawn  together  in  the 
same  dent,  in  order  to  produce  a  crossing  in  front  of  the  reed. 

Noticing  next  the  ground  ends,  without  reference  to  the 
doup  end,  it  will  be  seen  that  in  that  part  of  the  weave  that 
works  plain,  the  first  ground  end,  or  the  second  end  in  the 


40 


LENO  WEAVES 


81 


illustration,  works  differently  than  the  second  ground  end, 
while  the  last  end  works  the  same  as  the  first  ground  end; 
consequently,  while  the  first  and  third  ground  ends  can  be 
drawn  through  the  same  harness,  the  second  ground  end  will 
have  to  occupy  a  separate  harness, 
thus  necessitating  the  employment  of 
2  ground  harnesses.  From  this  it  will 
be  seen  that  if  the  4  ends  shown  in 
Fig.  32  constitute  one  repeat  of  the 
weave,  the  necessary  harnesses  to 
produce  this  weave  given  in  the  order 
in  which  they  come  in  the  loom  will 
be  as  follows:  Doup  and  standard 
harnesses,  first  ground  harness,  second 
ground  harness,  back  harness. 

38.  Considering  the  manner  of 
drawing  in  the  different  ends,  the  doup 
end  is  drawn  through  a  left-hand  doup;  in  drawing  in  this  end,  it 
will  first  be  drawn  through  the  back  harness  and  then  through 
the  doup  harness.  The  first  ground  end  will  be  drawn  through 
the  first  ground  harness,  crossed  to  the  left  over  the  doup  end, 
and  drawn  through  the  same  dent  as  the  doup  end.  Since  the 
second  ground  end 
works  differently 
from  the  first,  it  will 
be  drawn  through  the 
second  ground  har¬ 
ness,  crossed  over  the 
doup  end,  and  passed 
through  the  same 
dent.  As  the  third 
ground  end  works  the 
same  as  the  first,  it 
will  be  drawn  in  similarly  to  that  end.  This  completes  one 
repeat  of  the  drawing-in  draft,  which  is  shown  in  Fig.  33. 

39.  Chain  Draft. — In  weaves  similar  to  that  shown  in 
Fig.  32,  it  is  customary  to  work  both  ground  harnesses  with 


a Buc7c> 

1 2  f-  Ground, 


Doup  and 
Standard 


Fig.  33 


Fig. 32 


§81 


LENO  WEAVES 


41 


□■□□□□□■ 


the  same  jumper  attachment,  but  at  the  same  time  to  have 
each  harness  connected  to  its  individual  lever,  in  order  that 
each  may  be  lifted  in  plain  order  when  desired.  The  follow¬ 
ing  is  as  simple  a  rule  as  any  to  follow  when  making  a  chain 
draft  for  these  weaves.  On  the  picks  that  are  to  work  plain 
have  the  levers  that  work  the  ground  harnesses  lifted  and 
lowered  as  they  would  be  when  producing  a  plain  weave;  on 
those  picks  on  which  the  douping  takes  place  have  all  the 
levers  that  work  the  ground  harnesses  lowered,  since  on 
these  picks  the  jumper  will  perform  all  the  necessary  work. 
Fig.  34  shows  the  necessary  chain  draft  for  this  weave.  On 
the  first  pick  the  doup  and  back  harnesses  are  raised,  thus 
bringing  the  doup  end  over  the  pick  of  filling.  On  this  pick, 
also,  the  first  ground  harness  is  lowered,  while  the  second 
ground  harness  is  raised.  Since  the  first  Y 

and  third  ground  ends  are  drawn  through  6[1 
the  first  ground  harness,  and  this  harness 
is  lowered  on  this  pick,  these  ends  will  be 
under  the  pick  of  filling.  Since  the  second  ls 
ground  end  is  drawn  through  the  second 
ground  harness,  which  is  raised  on  this 
pick,  the  second  ground  end  will  be  over 
the  pick  of  filling,  as  shown  in  Fig.  32. 

On  the  second  pick,  as  shown  in  the  chain  draft,  the  only 
harness  that  is  raised  is  the  first  ground  harness,  and  since 
the  first  and  third  ground  ends  are  drawn  through  this  har¬ 
ness,  these  ends  will  be  over  the  pick  of  filling,  while  the 
other  ends  will  be  under  the  pick  of  filling.  The  third  pick 
is  the  same  as  the  first. 

On  the  next  pick,  however,  the  standard  and  doup  har¬ 
nesses  are  raised — the  latter  by  the  yoke — and  the  slackener 
is  operated,  thus  bringing  the  doup  end  up  on  the  right  of 
the  3  ground  ends  and  causing  a  turning  of  the  ends.  When 
causing  a  turn  in  the  ends  on  an  open-shed  dobby,  it  is 
necessary  to  bring  all  the  ends  level  at  about  the  center  of 
the  shed.  With  the  weave  being  illustrated,  this  is  accom¬ 
plished  as  follows:  On  the  third  pick  the  doup  end  is  over 
the  pick  of  filling,  which  is  in  accordance  with  the  instructions 


o  3 

Q  <2 


Fig.  34 


42 


LENO  WEAVES 


§81 


previously  given  that  the  doup  end  should  be  over  the  filling 
on  the  picks  immediately  preceding  and  following  the  pick  on 
which  the  douping  takes  place.  On  the  fourth  pick  the  doup 
and  back  harnesses  are  lowered,  which  causes  the  doup  end  to 
drop,  but  the  standard  harness  is  raised.  As  the  lever  oper¬ 
ating  the  standard  harness  rises,  it  will  catch  the  hook  attached 
to  the  doup  harness  when  the  doup  end  has  dropped  half  the 
space  of  the  shed,  and  thus  this  eild  will  be  brought  from  the 
top  of  the  shed  to  the  center  and  then  back  to  the  top  again. 

Considering  next  the  first  and  third  ground  ends,  which 
work  alike  and  are  therefore  drawn  through  the  same  har¬ 
ness,  it  will  be  seen  that  on  the  third  pick  they  are  both 
down;  consequently,  on  the  fourth  pick  some  means  must  be 
adopted  to  bring  them  to  the  center  of  the  shed  and  then 
lower  them  again.  According  to  the  chain  draft,  on  the 
fourth  pick  the  lever  operating  the  first  ground  harness 
through  which  these  ends  are  drawn  is  not  raised;  but,  since 
this  harness  is  also  attached  to  the  jumper,  it  will  be  under 
the  control  of  this  mechanism  when  not  lifted  by  its  lever, 
and  will  therefore  be  brought  to  the  center  of  the  shed  and 
then  lowered  to  the  bottom.  On  the  third  pick  the  second 
ground  end  is  raised,  while  on  the  fourth  pick  it  is  lowered; 
consequently,  in  passing  from  the  top  of  the  shed  to  the 
bottom,  it  will  necessarily  meet  the  other  ends  at  the  center. 
It  is  in  this  manner  that  on  the  pick  on  which  the  douping 
takes  place  the  doup  end  and  the  ground  ends  are  brought 
level  at  the  center  of  the  shed,  permitting  the  crossing  of 
the  ends.  The  fifth  and  sixth  picks  are  similar  to  the  first 
and  second,  respectively. 

I 

40.  The  weave  shown  in  Fig.  32  is  typical  of  a  large 
variety  of  weaves  in  which  1  doup  end  crosses  2  or  more 
ground  ends.  Though  the  variations  in  the  interlacings  of 
these  ends  are  many,  they  present  no  difficulties  to  one  who 
understands  the  method  of  reproducing  the  weave  given  in 
Fig.  32. 

Weaves  of  this  character  might  be  made  by  having  2  or 
more  doup  ends  drawn  through  separate  back  harnesses, 


81 


LENO  WEAVES 


43 


under  1  ground  end,  and  through  the  same  doup,  but  as  this 
method  is  not  as  convenient  as  that  just  described,  it  is  not 
used  to  any  extent. 

41.  A  common  method  of 
obtaining  leno  effects  is  by  a 
combination  of  the  two  methods 
just  mentioned;  that  is,  by  having 
2  doup  ends  drawn  through  2  back 
harnesses,  under  2  ground  ends, 


which  are  drawn  in  2  harnesses,  mMgz 


and  then  through  1  doup  harness 
at  the  front.  A  leno  pattern 
obtained  in  this  way  is  shown  in 
Fig.  35,  the  harness  and  chain 
drafts  being  given  in  Figs.  36 
and  37.  The  pattern  is  complete 
on  8  picks,  though  in  Fig.  35  the 
first  pick  is  repeated,  in  order  to 


Qthpicfc 


Fig. 35 

show  the  complete  working  of  the  ends.  In  this  system, 
it  is  evident  that  as  the  doup  ends  are  both  drawn  through 
the  same  doup,  which  is  raised  by  the  standard  harness  when 


the  douping  takes  place,  these  ends  must  be  raised  together 
when  this  action  occurs.  Though  the  doup  ends  are  thus 
limited  when  raised  out'  of  their  normal  position  the  ground 


44 


LENO  WEAVES 


81 


ends  are  not  restricted  and  may  be  operated  separately  as 
desired  on  all  douping  picks;  it  is  seldom,  however,  that  the 
ground  ends  are  worked  separately  on  such  picks,  it  being 
customary,  in  order  to  bring  out  the  full  effect  of  the  crossing 
of  the  ends,  to  depress  both  ground  ends  on  the  pick,  or 
picks,  inserted  when  the  doup  ends  are  raised  out  of  their 
normal  position.  When  the  doup  harness  is  raised  and  the 
standard  harness  remains  down,  the  doup  ends  can  be  raised 
independently  of  each  other  and  of  the  ground  ends,  since  they 
are  raised  in  their  normal  position,  and  as  the  ground  ends  can 
also  be  operated  independently,  all  4  ends  can  be  utilized  to 
weave  plain  cloth  as  shown  in  Fig.  35,  picks  3  to  7,  inclusive. 

This  weave  necessitates  a  different  use  of  the  yoke  from 
that  explained  in  connection  with  the  weaving  of  gauze  on 

an  open-shed  dobby,  where  the  doup 
harness  is  readily  operated  so  as  to 
prevent  any  great  amount  of  slack  in 
the,  doup,  which  slackness  would  be 
liable  to  entangle  and  break  the  ends. 
If  the  2  doup  ends,  which  are  drawn 
through  the  same  doup,  as  shown  in 
Fig.  36,  worked  alike  throughout  the 
weave,  as  they  do  on  the  first  2  picks 
of  the  weave  shown  in  Fig.  35,  the 
arrangement  of  the  yoke  connected  with  the  doup  and  the 
standard  harnesses  would  be  the  same  as  that  used  in 
weaving  plain  gauze  on  an  open-shed  loom  with  1  doup 
end  crossing  1  ground  end.  When,  however,  as  in  this 
case,  the  doup  ends  drawn  through  the  same  doup  work 
differently,  two  levers  are  required  to  operate  the  doup  har¬ 
ness,  while  the  standard  harness  is  operated  by  the  third 
lever,  to  which  it  is  attached  in  the  ordinary  manner.  As  has 
been  stated,  the  first  2  picks  present  no  difficulty,  because 
the  doup  ends  work  alike,  so  that  if  the  doup  harness  is 
worked  correctly  as  for  1  doup  end,  the  doup  will  remain 
practically  taut  throughout  its  movement.  On  the  third  pick, 
1  doup  end  is  depressed,  but  the  other  doup  end  is  raised  and 
retains  the  doup  in  position;  consequently,  no  difficulty  is 


j  j 


□□□□□□□ 

■□□□□□■□ 

□■□□□□□■ 

■□□□□□□□ 

□■■□□□□□ 


■□□□ 

■□□□ 

□□□■ 


a  a  2 
o  o  S 
Q  ft  ca 


§  I 

®  5 

Fig.  37 


§81 


LENO  WEAVES 


45 


experienced  on  this  pick.  On  the  fourth  pick,  however,  the 
positions  of  the  doup  ends  are  reversed;  as  the  end  that  was 
raised  on  the  previous  pick  descends,  it  will  allow  the  doup  to 
become  slack  until  it  meets,  at  the  center  of  the  shed,  the 
other  doup  end,  which  is  rising,  unless  at  the  same  time  the 
doup  harness  is  moved  to  the  center  of  the  shed  and  returned 
to  the  top  shed.  This  movement  is  the  same  as  that  which 
would  be  given  if  the  yoke  were  attached  to  the  levers  oper¬ 
ating  the  doup  and  the  standard  harnesses;  but  as  the  lever 
operating  the  standard  harness  is  not  raised  on  the  next 
pick,  this  arrangement  cannot  be  used. 

In  order  to  give  the  required  movement  to  the  doup  har¬ 
ness  the  yoke  is  connected  to  the  first  two  levers  of  the 
dobby,  but  is  entirely  independent  of  the  third  lever  that 
operates  the  standard  harness.  The  yoke,  to  which  the 
doup  harness  is  connected,  is  attached  to  levers  that  operate 
in  the  same  way  as  the  doup  and  standard  levers  when  con¬ 
nected  by  a  yoke,  as  previously  explained.  As  the  doup 
harness  is  lowered  by  one  of  the  levers  to  which  the  yoke 
is  attached,  the  doup  is  lowered  to  the  center  of  the  shed  at 
the  same  time  that  the  end  previously  raised  is  descending; 
the  doup  harness  is  then  raised  by  the  other  lever  while  the 
end  previously  depressed  is  rising;  consequently,  the  doup 
is  kept  practically  taut,  and  tangling  and  breaking  of  ends  is 
avoided. 

In  weaves  of  this  character  the  standard  harness  is  oper¬ 
ated  as  required,  independently  of  the  two  levers  connected 
by  the  yoke  for  the  purpose  of  operating  the  doup  harness. 
The  first  two  levers  are  operated  alternately  on  all  picks  where 
the  doup  ends  work  differently,  in  order  to  lower  the  doup 
harness  to  the  center  of  the  shed  and  return  it  to  its  position 
between  successive  picks.  One  of  the  yoke  levers  should, 
of  course,  always  be  raised  whenever  the  standard  is  raised 
to  enable  the  douping  to  take  place. 


46 


LENO  WEAVES 


§81 


EFFECTS  REQUIRING  MORE  THAN  ONE  SET  OF 
DOUP  ENDS 

42.  In  many  leno  weaves,  the  douping  of  one  set  of  ends 
occurs  on  one  pick  while  the  douping  of  another  set  occurs 
on  another  pick.  In  such  cases,  it  is  necessary  to  employ  as 
many  sets  of  doup  and  standard  harnesses  as  there  are  sets 
of  doup  ends.  Two  sets  of  doup  and  standard  harnesses  are 
the  most  common,  although  in  some  cases  more  are  used.  A 
good  plan  to  follow  when  seeking  to  determine  the  number 
of  ends  that  doup  differently,  is  first  to  determine  the  doup 
ends  in  one  repeat  of  the  pattern  of  the  weave,  and  next  to 
follow  the  interlacings  of  the  different  picks  and  determine 

the  number  of  sets  of  doup 
ends  that  doup  on  different 
picks.  If  one  set  of  doup 
ends  is  found  to  doup  on 
a  different  pick  than  the 
others,  those  ends  require  a 
separate  doup,  a  separate 
standard,  and  a  separate  back 
harness;  that  is,  there  must 
be  as  many  different  sets  of 
these  harnesses  as  there  are 
different  sets  of  doup  ends 
that  work  differently, 
somewhat  more  clearly;  on 
third  and  fourth  doup  ends 
doup,  while  on  the  fourth  and  eighth  picks  the  first  and 
second  doup  ends  doup.  Consequently,  in  this  weave  there 
are  two  sets  of  doup  ends,  which  are  actuated  by  two  sets  of 
harnesses;  that  is,  the  first  2  doup  ends  are  drawn  through 
one  set  of  harnesses  and  the  last  2  doup  ends  through 
another  set. 

When  more  than  one  set  of  doups  are  used  to  weave  a 
fabric,  the  order  in  which  the  harnesses  are  usually  arranged 
is  as  follows:  doup,  standard,  doup,  standard,  and  so  on, 
until  the  number  of  doups  and  standards  that  are  required 


Fig.  38  illustrates  this  point 
the  second  and  sixth  picks  the 


§81 


LENO  WEAVES 


47 


are  used;  next  follows  the  ground  harness  for  the  end  that 
is  crossed  by  the  doup  end  drawn  through  the  front  doup, 
and  next  the  back  harness  for  that  doup  end;  after  this  fol¬ 
low  the  ground  and  back  harnesses  for  each  set  of  doup  and 
standard  harnesses  in  regular  order.  This  order,  although 
not  always  adopted,  is  the  general  one  and  will  be  found  to 
give  the  best  satisfaction. 


43.  Considering  the  drawing-in  draft  for  Fig.  38,  the  first 
2  doup  ends  work  alike  and  also  the  first  2  ground  ends; 
therefore,  one  set  of  doup,  standard,  ground,  and  back  har¬ 
nesses  will  serve  for  these  4  ends,  left-hand  doups  being 
used.  The  third  and  fourth  doup  ends,  although  they  work 


alike,  work  in  a  manner  entirely  different  from  the  first  and 
second  doup  ends,  and  while  they  may  be  drawn  in  similarly 
to  each  other,  they  must  occupy  a  separate  set  of  harnesses 
from  the  first  2  doup  ends.  The  same  is  true  of  the  third 
and  fourth  ground  ends  when  considered  in  relation  to  their 
respective  doup  ends  and  the  first  and  second  ground  and 
doup  ends. 

The  complete  drawing-in  draft  for  these  ends  is  shown  in 
f^ig.  39;  the  first  doup  and  standard  harnesses,  the  first  ground 
harness,  and  the  first  back  harness  are  used  for  the  first 
4  ends  of  Fig.  38,  while  the  remaining  harnesses  are  used 
for  the  second  4  ends.  Fig.  40  shows  the  chain  draft  that 
will  give  the  effect  shown  in  Fig.  38  with  the  ends  drawn  in 


48 


LENO  WEAVES 


81 


as  shown  in  Fig.  39.  Considering  the  first  pick  of  Fig.  40, 
the  first  doup  and  first  back  harnesses  are  raised,  which 
raises  the  first  and  second  doup  ends;  the  second  doup  and 
second  back  harnesses  are  also  raised,  which  raises  the  third 
and  fourth  doup  ends.  As  the  other  harnesses  are  not  lifted 
on  this  pick,  the  remaining  ends  will  be  down.  On  the 
second  pick,  the  second  standard  harness  is  raised,  which  by 
means  of  the  yoke  raises  the  second  doup  harness,  causing 
the  third  and  fourth  doup  ends  to  doup.  The  first  doup 
and  first  back  harnesses  are  also  raised  on  this  pick,  which 
will  cause  the  first  and  second  doup  ends  drawn  through  these 
harnesses  to  be  lifted.  The  third  pick  is  the  same  as  the  first. 
On  the  fourth  pick,  the  first  standard,  and  consequently  the 
first  doup,  harnesses  are  raised,  causing  the  first  and  second 

doup  ends  to  doup.  As  the  second 
doup  and  second  back  harnesses  are 
also  raised,  the  third  and  fourth  doup 
ends  will  be  up  on  this  pick.  The 
last  4  picks  are  simply  repetitions  of 
the  first  4  picks.  Each  set  of  doup 
and  standard  harnesses  must  have  its 
own  slackener;  thus,  Fig.  40  provides 
for  two  slackeners,  one  for  the  first 
set  of  doups  and  another  for  the  second  set.  When  the  first 
and  second  doup  threads  are  made  to  doup,  as  they  are  on 
the  fourth  and  eighth  picks,  the  first  slackener  is  operated, 
while  the  second  slackener  is  operated  when  the  third  and 
fourth  doup  ends  are  douped,  as  on  the  second  and  sixth 
picks.  In  every  case  where  more  than  one  set  of  doup  ends 
is  adopted  there  must  be  a  slackener  for  each  set  and  the 
doup  ends  drawn  over  their  respective  slackeners. 

44.  It  is  possible  to  weave  on  a  comparatively  small 
number  of  harnesses  a  variety  of  leno  effects  somewhat 
elaborate  in  appearance  that  seem  to  require  a  large  number 
of  harnesses  for  their  production.  In  such  weaves  separate 
back  and  ground  harnesses  are  required  for  each  pair  of  doup 
and  ground  ends  that  work  differently  from  every  other  pair. 


8th  Pick 


1st  Pick 


□■■□□□□□ 

□■■□□□□□ 

!□■□□□□■ 

!□□■□□□■ 

!□■□□□□■ 


□  BHD 

□  HDD 

□  □□■ 

□  HDD 

□  BHD 

□  HDD 

□□□a 

□  HDD 


QmQx  Cca  CfSKco 
Fig. 40 


§81 


LENO  WEAVES 


49 


Only  1  doup  and  1  standard  harness  is  used,  however,  all  the 
doup  ends  being  drawn  through  doups  on  the  one  doup  har¬ 
ness,  as  they  all  doup  on  the  same  picks.  Such  an  arrange¬ 
ment  is  possible  because  on  every  alternate  pick  the  doup 
and  standard  harnesses  are  both  raised,  while  on  the  other 
picks  the  doup  harness  alone  is  raised.  On  the  picks  first 
mentioned,  every  doup  end  is  raised  out  of  its  normal  posi¬ 
tion  by  the  lifting  of  the  doup  and  standard  harnesses.  On 
the  second  pick  and  every  alternate  pick,  there  are.  two  pos¬ 
sible  manipulations  of  the  ends  that  work  together,  so  that 
either  the  ground  end  or  the  doup  end  may  be  raised.  In 
the  first  case  the  ground  end  is  raised  by  lifting  the  ground 
harness,  but  as  the  back  harness  remains  down  the  doup 
end  is  down  and,  consequently,  the  doup  retains  its  position, 
although  the  doup  harness  is  lifted.  In  the  second  case  the 
doup  end  is  raised  by  lifting  the  back  harness,  this  being 
possible  because,  as  already  noted,  the  doup  harness  is  raised 
on  this  pick. 

If  the  pick  on  which  the  doup  end  is  raised  out  of  its 
normal  position  is  alternated  with  the  pick  on  which  the 
ground  end  is  raised,  it  will  result  in  weaving  plain  cloth.  If 
the  pick  first  mentioned  is  alternated  with  the  pick  on  which 
the  doup  end  is  raised  in  its  normal  position,  the  result  will 
be  plain  gauze.  Since  each  pair  of  doup  and  ground  ends  is 
drawn  in  on  separate  back  and  ground  harnesses,  it  is  evident 
that  one  pair  of  ends  may  weave  plain  cloth  and  another  pair 
weave  plain  gauze  throughout  a  repeat  of  the  weave,  or  that 
any  pair  of  ends  working  together  may  weave  plain  cloth  for 
part  of  the  weave  and  plain  gauze  for  the  remainder.  The 
latter  method  is  in  general  use  for  producing  elaborate  effects 
with  a  relatively  small  number  of  harnesses.  In  such  weaves 
a  groundwork  of  plain  cloth  is  produced  by  raising  the  ground 
ends  on  those  picks  where  there  is  a  choice  in  the  working  of 
the  ends,  and  the  design  is  made  by  weaving  plain  gauze 
by  raising  the  doup  ends  on  the  required  number  of  these 
same  picks. 

Fig.  41  shows  the  weave  of  a  leno  design  made  on  this 
principle,  which  will  give  a  zigzag  effect  in  the  cloth,  and 


50 


LENO  WEAVES 


§81 


Figs.  42  and  43  show  the  requisite  harness  and  chain  drafts, 
the  latter  being  for  a  elose-shed  loom.  The  weave  is  com-' 
plete  on  16  picks,  though  Fig.  41  gives  the  last  pick  of  the 
previous  repeat  and  the  first  pick  of  the  following  repeat  of 


Fig. 41 


the  weave.  This  weave  shows  the  features  peculiar  to  leno 
fabrics  woven  on  this  principle  with  only  one  set  of  doup  and 
standard  harnesses.  On  the  second  and  every  even-numbered 
pick,  every  doup  end  is  raised  out  of  its  normal  position.  On 
the  first  and  every  odd-numbered  pick,  certain  doup  ends  are 


§81 


LENO  WEAVES 


51 


raised  in  their  normal  positions,  while  certain  others  remain 
down  and  the  ground  ends  that  work  with  them  are  raised. 


In  either  case  the  ends  are  raised  on  the  side  opposite  to  that 
on  which  the  doup  ends  were  raised  on  the  previous  pick. 


16th  Pick 


■□□□□EOS 

■■□□□□□□ 

■□□□■□□El 

■■□□□□□□ 

■□□□■□■□ 

■■□□□□□□ 

■□□□□san 


1st  Piok 


!■□□□□□□ 

!□□□■□■□ 

!■□□□□□□ 

■□□□■□□E 

!■□□□□□□ 

■□□□□EOS 

!■□□□□□□ 

■□□□□EBP 


□□□□■ 

_!□■□□ 

□□□□■ 

□Sana 

□□□□■ 

□EQED 

□□□□■ 

HQQEO 


45.  A  simple  and  accurate 
method  of  making  weaves  of  this 
character  is  as  follows:  Mark  on 
design  paper  as  a  motive  the  effect 
that  is  desired.  Then  on  the  chain 
draft  allow  for  1  doup  harness, 

1  standard  harness,  1  slackener,  and 
twice  as  many  harnesses  for  the 
doup  and  ground  ends  as  there  are 
ends  in  the  motive  that  work  dif¬ 
ferently;  also  allow  for  twice  the 
number  of  picks  required  by  the 
motive;  the  allowance  for  ends  is 

made  because  each  end  of  the  motive  represents  2  ends — a 
doup  and  a  ground  end  working  together — and  the  allowance 


□□□□■ 

□EDED 

□□□□■ 

□EBDD 

□□□□■ 

_!□■□□ 

□□□□■ 

□□BO 


3  M  3  Hi  3  M 


Fig. 43 


52 


LENO  WEAVES 


§81 


for  picks  because  in  weaving  the  design  all  the  pairs  of  ends 
must  weave  alike  on  half  the  picks.  In  making  the  chain 
draft,  mark,  every  alternate  pick  to  raise  the  doup  and  the 
standard  harnesses  and  operate  the  slackener.  These  picks 
will  always  be  marked  alike,  irrespective  of  the  design,  and 
on  these  picks  no  marks  are  ever  placed  to  operate  any  of 
the  ground  or  back  harnesses.  Next  mark  the  draft  to  raise 
the  doup  harness  on  all  those  picks  that  have  not  been 
marked.  Since  it  is  on  these  picks  that  the  choice  is  given 
of  raising  either  the  ground  or  the  doup  ends,  and  the  desired 
figure  is  produced  by  raising  certain  doup  ends  so  as 
to  weave  plain  gauze,  the  design  should  be  marked 
on  the  back  harnesses  on  these  picks.  As  the  last 
step,  mark  the  chain  draft  on  these  same  picks  to 
raise  the  ground  harness  of  every  pair  of  ground  and 
back  harnesses,  where  the  back  harness  has  not  been 
marked  to  raise  the  doup  end  drawn  through  it.  The  motive 
for  the  weave  shown  in  Fig.  41  is  given  in  Fig.  44,  and  is 
shown  properly  placed  on  the  chain  draft  by  the  crosses 
in  Fig.  43. 

The  principles  involved  in  producing  leno  effects  by  this 
method  are  fully  explained  with  reference  to  the  weave  shown 
in  Fig.  41,  which  is  sufficiently  large  to  give  the  desired  effect 
on  certain  classes  of  goods.  On  many  fabrics,  however,  it  is 
necessary,  in  order  to  bring  out  the  effect  to  the  greatest 
advantage,  to  use  all  the  available  harnesses  for  the  differently 
working  pairs  of  ends,  and  to  extend  the  number  of  picks 
proportionately.  _ 


Fig. 44 


COMBINATION  LENO  EFFECTS 

46.  Although  the  illustrations  given  deal  only  with  doup 
and  ground  ends,  leno  effects  are  not  made  up  entirely  of 
these,  since  almost  all  leno  patterns  are  made  by  combining 
a  plain  or  fancy  gauze  weave  with  some  other  weave  of 
ordinary  structure,  thus  forming  stripes,  checks,  and  many 
other  effects.  With  the  designs  so  far  given,  it  has  been 
the  object  to  explain  the  different  leno  weaves  that  are  com¬ 
monly  used  in  combination  with  some  other  weave,  and  it 


§81 


LENO  WEAVES 


53 


should  he  understood  that  it  is  possible  to  combine  any  of 
these  weaves,  or,  in  fact,  several  of  them,  with  other  weaves, 
such  as  plain  or  twill,  and  in  this  manner  form  numerous  and 
varied  effects. 

47.  When  weaving  a  gauze,  the  back  harness  and  the 
harness  through  which  the  ground  ends  are  drawn  should  be 
placed  as  near  the  back  of  the  loom  as  possible  and  operated 
by  the  back  levers  of  the  dobby,  in  order  to  give  the  doup 
ends  room  in  which  to  cross  the  ground  ends.  In  cases 
where  a  leno  design  is  composed  of  some  other  weave  in 
addition  to  the  gauze,  it  is  the  custom  to  place  the  harnesses 
carrying  the  ends  forming  this  weave  between  the  standard 
and  the  ground  harnesses  and  to  have  them  operated  by  the 
center  harness  levers  of  the  dobby.  In  all  illustrations 
given  of  this  class  of  weaves,  this  order  of  placing  the 
harnesses  will  be  observed. 

48.  Combinations  of  Plain  and  Gauze  Weaves. 

Fig.  45  shows  a  leno  design  in  which  the  first  24  ends  work 
plain,  producing  a  stripe  of  plain  weave.  The  remaining 
ends  produce  a  stripe  of  gauze,  but  while  some  of  the  ends 
are  douping  to  the  right,  others  are  douping  to  the  left,  and 
as  all  these  ends  do  not  interlace  with  the  filling  in  exactly 
the  same  order,  widely  varied  effects  are  produced.  The 
first  point  to  determine  when  reproducing  a  leno  fabric  is  the 
number  of  sets  of  doup  'harnesses  necessary  for  the  doup 
ends.  When  a  doup  end  is  found  to  doup  on  a  pick  on  which 
the  other  doup  ends  do  not,  that  end  must  have  a  separate 
doup  and  standard  harness.  On  the  first  pick  shown  in 
Fig.  45,  all  the  doup  ends  are  operated  in  the  same  manner; 
consequently,  as  far  as  this  pick  is  concerned,  only  one  doup 
and  standard  harness  are  necessary.  The  same  is  true  of  the 
second  and  third  picks.  On  the  fourth  pick,  however,  two 
methods  are  adopted,  since  while  the  first  two  and  also  the 
last  two  sets  of  crossing  ends  doup  on  this  pick,  the  second 
two  do  not,  but  remain  as  they  were  on  the  third  pick;  conse¬ 
quently,  thus  far  at  least  two  sets  of  doup  and  standard 
harnesses  are  necessary.  Comparing  the  interlacings  of  the 


§81 


LENO  WEAVES 


55 


doup  ends  on  each  pick  of  Fig.  45,  it  will  be  seen  that  two 
sets  of  doup  harnesses  will  be  sufficient  to  weave  this  design, 
since  these  are  the  only  two  sets  of  doup  ends  that  work 
differently. 

Having  determined  the  number  of  doup  and  standard 
harnesses,  next  learn  in  the  same  manner  the  number  of 
ground  harnesses  required.  When  each  doup  end  crosses 
only  1  ground  end,  as  is  the  case  in  this  figure,  there  will  be 
the  same  number  of  ground  harnesses  as  there  are  doup 
harnesses.  The  number  of  back  harnesses  will,  of  course, 
be  the  same  as  the  number  of  doup  harnesses  in  every  case, 
with  the  exception  of  weaves  made  on  the  principle  of  that 
shown  in  Fig.  41.  The  ends  so  far  considered  will  require 
2  doup,  2  standard,  2  back,  and  2  ground  harnesses,  making 
eight  levers  of  the  dobby  that  will  be  required  for  this  part 
of  the  weave. 

The  first  24  ends  of  Fig.  45  can  be  placed  on  2  harnesses, 
since  this  is  the  plain  weave.  However,  it  would  be  better 
to  draw  them  in  on  4  harnesses,  which  method  will  be 
adopted.  It  also  becomes  necessary  before  making  out  the 
harness  draft,  to  determine  which  ends  are  drawn  through 
right-hand  doups  and  which  require  left-hand  doups.  Refer¬ 
ring  to  Fig.  45,  the  first,  third,  and  fifth  doup  ends  are  drawn 
through  right-hand  doups,  while  the  second,  fourth,  and 
sixth  doup  ends  are  drawn  through  left-hand  doups.  It  is 
possible  now  to  commence  to  make  the  harness  draft,  shown 
in  Fig.  46,  the  ends  and  the  harnesses,  through  which  they 
are  to  be  drawn,  being  as  follows:  The  first  and  second 
harnesses  are  the  first  doup  and  the  first  standard  harnesses, 
through  which  the  first,  second,  fifth,  and  sixth  doup  ends  are 
drawn;  the  third  and  fourth  harnesses  are  the  second  doup 
and  the  second  standard  harnesses,  through  which  the  third 
and  fourth  doup  ends  are  drawn;  the  fifth,  sixth,  seventh,  and 
eighth  harnesses  have  the  ends  working  plain  drawn  through 
them;  the  ninth  harness  is  a  ground  harness,  through  which 
the  first,  second,  fifth,  and  sixth  ground  ends  are  drawn;  the 
tenth  harness  is  a  back  harness,  through  which  the  first,  second, 
fifth,  and  sixth  doup  ends  are  drawn;  the  eleventh  harness  is 


56 


LENO  WEAVES 


81 


a  ground  harness,  through  which  the  third  and  fourth  ground 
ends  are  drawn;  the  twelfth  harness  is  a  back  harness, 
through  which  the  third  and  fourth  doup  ends  are  drawn. 


49.  As  it  is  always  necessary  to  have  as  many  slackeners 
as  there  are  sets  of  doup  and  standard  harnesses,  two  slack¬ 
eners  will  be  required  in  this  case,  which  will  necessitate 
using  two  more  levers  of  the  dobby,  making  fourteen 


81 


LENO  WEAVES 


57 


altogether.  When  a  gauze  weave  is  combined  with  some 
other,  such  as  plain,  as  in  Fig.  45,  it  is  customary  to  have  at 
least  a  slight  space  between  the  front  harnesses  that  carry  the 
doup  ends  and  the  harnesses  through  which  the  ends  forming 
the  other  weave  are  drawn.  It  will  be  assumed  that  with 
this  weave  two  levers  are  omitted  between  those  operating 
the  two  sets  of  doup  and  standard  harnesses,  and  those 
operating  the  harnesses  carrying  the  ends  that  work  plain. 
The  harnesses  and  dobby  levers  will  therefore  be  connected 
in  the  following  manner:  First  lever  operates  first  doup 
harness;  second  lever  operates  first  standard  harness;  third 
lever  operates  second  doup  harness;  fourth  lever  operates 
second  standard  harness;  fifth  lever  skip;  sixth  lever  skip; 
seventh  lever  operates  first  plain 
harness;  eighth  lever  operates  mhpick 
second  plain  harness;  ninth  leaver 
operates  third  plain  harness; 
tenth  lever  operates  fourth  plain 
harness;  eleventh  lever,  also 
jumper,  operate  first  ground 
harness; '  twelfth  lever  operates  istpick 
first  back  harness;  thirteenth 
lever,  also  jumper,  operate  sec¬ 
ond’ ground  harness;  fourteenth 
lever  operates  second  back  har¬ 
ness;  fifteenth  lever  operates  slackener  for  first  set  of 
doups;  sixteenth  lever  operates  slackener  for  second  set  of 
doups.  The  first  and  second  and  third  and  fourth  levers 
are,  of  course,  connected  with  yokes.  Thus,  with  the  har¬ 
nesses  arranged  in  this  manner,  a  dobby  with  a  capacity  of 
at  least  sixteen  levers  will  be  required  to  weave  the  cloth, 
although,  by  not  skipping  any  levers  and  by  drawing  the 
plain  ends  on  2  harnesses,  it  would  be  possible  to  reduce 
this  number  to  twelve. 

50.  Fig.  47  shows  the  chain  draft  for  the  weave  Fig.  45 
with  the  ends  drawn  in  as  shown  in  Fig.  46;  by  following 
each  pick  of  Fig.  47  it  should  be  readily  seen  hew  the  effect 


Y  Y 


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a.  ■§  a  “  .3  .5  .3  §  a  3  a 

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Fig.  47 


58 


LENO  WEAVES 


§81 


is  obtained.  On  the  first  pick  the  following  harnesses  are 
raised:  second  plain  harness,  fourth  plain  harness,  first 
doup,  second  doup,  first  back  harness,  second  back  harness. 
Consequently,  all  the  doup  ends  are  raised  over  the  filling 
but  do  not  doup;  also,  all  the  ends  drawn  through  the 
second  and  fourth  plain  harnesses  are  raised  over  the  filling. 
On  the  second  pick  the  following  harnesses  are  raised:  first 
plain  harness,  third  plain  harness,  first  standard,  second  stand¬ 
ard,  both  slackeners.  This  causes  all  the  doup  ends  to  cross, 
and  brings  up  the  ends  drawn  through  the  first  and  third  plain 
harnesses.  Following  each  pick  through  in  this  manner,  it 
will  be  seen  that  in  each  case  the  effect  shown  in  Fig.  45  will 
be  obtained. 


EFFECTS  OBTAINED  WITHOUT  THE  USE  OF 
ADDITIONAL  MECHANISMS 

51.  Many  good  leno  effects  are  obtained  on  open-shed 
looms  without  the  use  of  additional  mechanisms  for  causing 
the  doup  and  ground  ends  to  meet  in 
the  center  of  the  shed  by  having  the 
doup  end  both  over  and  under  the 
picks,  but  never  interlacing  with  suc¬ 
cessive  picks  on  opposite  sides  of  the 
ground  end,  or  ends,  with  which  it 
works;  that  is,  at  least  1  pick  is  inserted 
between  the  picks  on  which  the  doup 
end  interlaces  on  opposite  sides  of  its 
ground  end,  or  ends.  It  is  evident  that 
such  weaves  can  be  woven  with  top 
doups;  therefore,  since  top  doups  are 
more  convenient,  and  as  they  weave 
the  cloth  face  up  in  the  loom,  they  are 
often  employed  in  preference  to  bot¬ 
tom  doups  in  producing  the  leno  effects 
described.  Fig.  48  shows  a  weave  of 
this  type,  the  doup  end  being  under 
some  of  the  picks  and  over  the  other  picks.  Suppose  that 
top  doups  are  used;  then  on  the  first  2  picks  the  doup  end  is 


81 


LENO  WEAVES 


59 


carried  down  on  the  left  of  the  ground  ends;  on  the  next 
4  picks  the  doup  end  is  up;  but  on  the  next  2  picks  it  is  carried 
down  on  the  right  of  the 
ground  ends.  If  left-hand 
doups  are  used,  the  doup- 
ing  will  take  place  on  these 
2  picks,  but  since  the  doup 
end  has  been  up  for  the 
previous  4  picks,  there  is 
no  necessity  for  any  ad¬ 
ditional  attachments  to 
cause  the  doup  and  ground 
ends  to  meet  in  the  center 
of  the  shed  in  order  to 
produce  the  douping;  that 
is,  since  the  doup  end  is 
up  on  the  previous  pick, 
it  is  perfectly  evident  that 
the  doup  end  is  in  such 
a  position  as  to  enable 
it  to  meet  and  cross  the 
ground  ends  without  any 
additional  movement  being  imparted  to  it,  whereas  if  it 
were  down  on  the  previous  pick,  it  would  have  to  be  so 


operated  as  to  meet  and  cross  the  ground  ends  before  the 
insertion  of  this  pick,  which  would  necessitate  the  use  of 
additional  mechanisms.  Weaves  of  this  character  are  not 


60 


LENO  WEAVES 


81 


strictly  leno  weaves,  but  the  effects  produced  are  in  many 
cases  very  similar  to  lenos. 

The  appearance  of  a  cloth  with  a  weave  similar  to  that 
shown  in  Fig.  48  is  greatly  improved  by 
using  both  right-hand  and  left-hand  doups, 
which  give  a  diamond  effect,  as  shown 
in  Fig.  49.  The  drawing-in  draft  for  the 
weave  shown  in  Fig.  49  when  using  top 
doups  is  shown  in  Fig.  50;  Fig.  51  shows 
the  chain  draft. 

Plain,  twill,  satin  or  other  weaves  may 
be  introduced  between  the  doup  ends,  as 
shown  in  Fig.  52.  The  drawing-in  draft 
with  top  doups  is  shown  in  Fig.  53,  and 
the  chain  draft  in  Fig.  54.  In  Fig.  53  it  is  indicated  that 
the  ground  ends  are  to  be  drawn  2_ends  per  eye.  This 


□□□□ 
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Fig. 51 


f 

M  I  I 

fils 

ala 

iffl 

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fr 

A® 

ill 

Hmfl 

r 

1 

Fill 

mi 

means  that  each  of  the  3  ground  ends,  shown  crossed  by 
1  doup  end,  represents  2  ends,  which  as  shown  in  Fig.  52 
work  exactly  alike.  These  2  ends  are  drawn  through  the 


92— 24 


62 


LENO  WEAVES 


§81 


harnesses  as  one  end,  and  therefore,  although  in  Fig.  53  only 
3  ground  ends  are  shown,  each  doup  end  virtually  crosses 
6  ground  ends. 


EFFECTS  PRODUCED  INDEPENDENTLY  OF  THE  WEAVE 

52.  There  are  several  ways  in  which  the  peculiar  effects 
of  leno  weaving  may  be  emphasized  so  that  the  design  pro¬ 
duced  by  any  leno  weave  may  be  made  more  prominent 
without  changing  the  weave  itself.  One  of  these  methods 
is  to  use  colored  yarns  for  some  of  the  ends,  which  may  be 
either  the  doup  or  the  ground  ends.  When  this  method  is 
adopted,  the  best  effect  is  usually  obtained  by  making  the 
doup  ends  the  colored  ends. 

Different-sized  yarns  are  also  used  to  heighten  the  leno 
effects,  in  which  case  they  may  be  either 
ground  or  doup  ends.  If  the  ground 
ends  'are  heavier  than  the  doup  ends 
with  which  they  work  they  will  force 
the  doup  ends  farther  from  a  straight 
line,  thus  increasing  the  zigzag  effect. 
If  the  doup  ends  are  heavier  than  their 
respective  ground  ends,  they  will  show 
more  prominently  as  ends,  but  they  will 
not  show  as  much  deviation  from  the 
other  warp  threads.  The  heavy  ends 
may  be  either  single  yarn  of  coarse 
counts  or  ply  yarn  composed  of  two  or 
more  strands  of  single  yarn  twisted  together.  An  effect 
similar  to  that  obtained  by  using  heavy  ends  is  produced  by 
drawing  2  ends  as  one  for  either  doup  or  ground  ends. 

53.  Another  important  matter  affecting  the  prominence 
of  the  leno  effects  is  the  regulation  of  the  tension  of  the 
beams.  In  leno  weaving  the  same  precaution  must  be  taken 
as  in  ordinary  fancy  weaving;  namely,  ends  that  vary  con¬ 
siderably  from  other  ends  in  take-up  must  be  placed  on 
separate  beams.  It  will  usually  be  found  that  only  one 
beam  is  required  when  weaving  plain  gauze,  though  two 


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Fig.  54 


81 


LENO  WEAVES 


63 


beams  are  sometimes  used  so  that  the  tension  of  the  doup 
ends  may  be  regulated  as  desired;  in  weaving  fancy  gauze, 
however,  several  beams  are  usually  required. 

In  a  fancy-gauze  fabric  the  take-up  of  the  ends  that  weave 
in  the  ordinary  way  is  determined  by  their  interlacings.  The 
take-up  of  the  doup  ends,  however,  is  dependent  not  only  on 
their  interlacings,  or  the  number  of  times  they  cross  their 
respective  ground  ends,  but  also  on  the  number  of  ground 
ends  crossed;  the  greater  the  number  of  ends  crossed,  the 
greater  will  be  the  take-up  of  the  doup  ends.  When  more 
than  one  beam  is  used,  it  is  customary  to  place  the  largest 
beam  in  the  usual  position  in  stands  on  the  frame  of  the 
loom.  The  other  beams  are  placed  in  a  vertical  row  above 
this  beam  with  the  smallest  beam  at  the  top,  the  ends  resting 
in  adjustable  stands  placed  on  rods  attached  to  the  back  part 
of  the  loom.  This  arrangement  of  the  beams  according  to 
their  size  is  adopted  because  a  heavy  beam,  if  placed  above 
the  loom,  is  liable  to  break  some  part  of  its  comparatively 
weak  supports,  and  in  falling  to  break  the  loom  or  injure 
any  one  who  is  near  it. 

When  doup  ends  are  placed  on  a  beam  that  occupies  a 
position  in  the  loom  above  the  slackener  rod,  they  are  drawn 
and  operated  as  already  described,  except  that  they  are 
passed  under  the  slackener  rod.  This  general  method  is 
varied  to  a  considerable'  extent  in  adapting  it  to  peculiar 
conditions  under  which  leno  fabrics  are  often  woven. 

The  result  generally  sought  in  leno  weaves  is  the  largest 
possible  deviation  of  the  doup  ends  from  the  straight  line 
taken  by  the  other  ends,  and  this  is  accomplished  by  putting 
considerable  tension  on  the  beam  carrying  the  ground  ends 
and  by  placing  little  tension  on  the  beam  containing  the 
doup  ends,  so  that  the  ground  ends  tend  to  retain  their 
position  and  force  the  doup  ends  to  make  a  sharp  angle  with 
the  other  ends.  The  proper  regulation  of  the  proportionate 
tension  of  the  different  beams,  though  apparently  a  simple 
matter,  contributes  very  largely  to  the  effectiveness  of  any 
leno  weave. 


64 


LENO  WEAVES 


§81 


DISSECTING  EENO  WEAVES 

54.  When  seeking  to  pick  out  a  leno  weave  and  to  find 
all  the  particulars  necessary  for  reproducing  a  cloth  of  this 
character,  it  should  be  understood  that  it  is  not  possible  to 
ascertain  the  weave,  at  least  the  gauze  part  of  it,  by  picking 
out  each  pick  separately  and  marking  its  interlacings  on  the 
design  paper.  The  best  plan  to  follow  is  to  study  the  weave 
carefully  with  the  aid  of  the  pick  glass,  endeavoring  to  under¬ 
stand  the  method  of  interlacing  that  is  employed,  and  after 
this  has  been  learned,  to  mark  out  the  chain  draft  on  the 
design  paper. 

55.  In  a  great  many  leno  fabrics  open  spaces  occur 
between  the  different  sets  of  doup  ends.  This  is  caused  by 
leaving  a  number  of  dents  in  the  reed  empty  and  having 
several  ends  drawn  through  other  dents.  The  crossing  of  the 
ends  that  takes  place  in  gauze  weaving  retains  the  ends  in 
their  proper  positions  when  in  the  cloth,  which  would  not  be 
the  case  if  any  dents  were  left  empty  when  weaving  an 
ordinary  fabric. 

In  cases  where  a  doup  end  crosses  several  ground  ends 
that  work  plain  part  of  the  time,  as  in  the  weave  shown  in 
Fig.  32,  the  splits,  or  wires,  of  the  reed  that  would  naturally 
separate  the  ground  ends  must  be  taken  out,  in  order  to 
allow  the  doup  ends  to  cross  them  in  weaving;  this  also 
leaves  sufficient  space  for  the  ends  to  spread  when  weaving 
plain  instead  of  gauze. 

56.  The  doups  that  pass  through  the  heddles  of  the  stand¬ 
ard  harness  are  fastened  securely  to  the  framework  of  the 
doup  harness,  generally  by  being  sewn  to  a  cord  fastened  to 
the  frame;  consequently,  they  can  be  placed  in  the  exact 
position  that  they  should  occupy.  It  is  necessary,  however, 
to  give  definite  instructions  to  the  person  doing  this  work, 
since,  if  the  doups  are  not  made  to  occupy  a  position  that 
will  bring  them  in  direct  line  with  the  ends  drawn  through 
them,  considerable  chafing  of  both  yarn  and  doups  must 
necessarily  follow. 


§81 


LENO  WEAVES 


65 


It  is  the  custom  when  giving-  particulars  for  the  doup 
harness,  to  state  exactly  how  much  space  exists  between  the 
gauze  stripes,  and  how  much  space  each  stripe  occupies, 
together  with  the  number  of  doups  necessary  for  that  stripe. 
For  example,  4  doup  ends  may  be  working  together  to  form 
a  stripe,  occupying  4  inch;  then  the  four  doups  necessary  for 
these  ends  will  be  distributed  evenly  on  I  inch  of  the  doup- 
harness  frame.  Next,  there  may  be  1  inch  of  plain  cloth  in 
which  no  doup  ends  appear;  consequently,  this  space  will  be 
skipped,  then  four  more  doups  fastened  to  the  frame,  and  so 
on  until  the  whole  is  completed.  In  this  way  the  harness 
maker  will  leave  spaces  on  the  harnesses  to  correspond  with 
the  requirements  of  the  design.  In  cases  where  part  of  the 
doups  are  right-hand  and  part  left-hand,  the  necessary 
instruction  for  this  part  of  the  work  must  also  be  given,  so 
that  the  desired  effect  will  be  produced.  A  convenient 
method  employed  in  preparing  the  doup  harness  is  to  mark 
off  on  a  stick  the  positions  of  the  doups  throughout  the  width 
of  the  warp,  the  stick  being  then  used  as  a  guide  in  fasten¬ 
ing  the  doups  to  the  doup  harness. 


PILE  WEAVES 


CONSTRUCTION  OF  PILE  FABRICS 


INTRODUCTION 

1.  Cloths  of  the  class  of  textiles  known  as  pile  fabrics 
are  distinguished  in  their  finished  condition  by  having  a 
large  number  of  threads  projecting  almost  vertically  from 
the  body  of  the  cloth;  this  is  technically  known  as  the  pile  of 
the  goods,  from  which  the  name  pile  fabrics  is  obtained. 
The  pile  is  supported  by  a  closely  woven  ground  cloth,  the 
face  of  which  is  usually  entirely  hidden  through  being 
covered  by  the  pile.  Pile  fabrics  are,  of  course,  entirely 
distinct  from  those  cloths  having  a  napped  surface  produced 
by  a  finishing  process  of  gigging,  napping,  or  raising,  such 
as  blankets,  Canton  flannels,  and  fleece-lined  goods,  in  which 
the  nap  is  produced  by  loosening  and  brushing  some  of  the 
fibers  of  the  yarns  forming  the  body  of  the  cloth. 

Pile  fabrics  are  produced  in  great  variety,  some  of  simple 
structure  and  others  involving  intricate  patterns  and  com¬ 
plicated  interlacings  of  the  various  series  of  yarns.  While 
produced  in  relatively  small  quantities,  they  are  of  great 
importance  on  account  of  their  usefulness  for  various  pur¬ 
poses  or  for  the  artistic  effects  that  are  produced.  Most 
varieties  of  pile  fabrics  in  their  finished  state  are  familiar  to 
the  average  person,  but  their  structure  and  design  are 
comparatively  unknown  except  to  the  more  experienced 
designers.  This  is  partially  due  to  the  fact  that  their  pro¬ 
duction  is  not  large  and  is  confined  to  certain  districts,  and 
also  because  of  the  complicated  structure  of  certain  varieties 

For  notice  of  copyright,  see  page  immediately  following  the  title  page 
l  82 


2 


PILE  WEAVES 


82 


of  these  fabrics.  To  thoroughly  understand  them  requires 
an  excellent  knowledge  of  cloth  structure  and  of  weaving 
mechanism. 

The  system  of  yarn  that  forms  the  pile  of  a  pile  fabric  is 
spoken  of  as  the  pile  warp  or  the  pile  filling ,  as  the  case  may 
be,  while  the  systems  forming  the  foundation  fabric  are 
spoken  of  as  the  ground  warp  and  the  ground  filling.  The 
pile  appears  in  different  forms  in  different  classes  of  goods. 
In  some  cases,  it  covers  the  entire  surface  of  the  ground 
fabric,  appearing  like  a  continuous  brush  of  uniform  height, 
as  in  velvets  and  plushes;  in  other  cases,  it  forms  cords  with 
a  distinct  rounded  formation,  running  lengthwise  of  the 
goods,  as  in  corduroy  fabrics.  Sometimes  the  pile  remains 
in  a  series  of  loops  of  uniform  height  covering  the  surface  of 
the  ground  cloth,  as  in  Brussels  carpets,  or  with  the  same 
effect  on  both  the  face  and  back  of  the  fabric,  as  in  Turkish 
towels,  although  in  the  latter  case  the  pile  does  not  stand  so 
erect  nor  is  it  so  thick  and  close  as  in  other  pile  fabrics. 
Still  other  varieties  are  produced  by  a  combination  of 
different  forms  of  pile  arranged  to  give  a  figured  effect, 
as  in  mantle  cloths  and  draperies. 

The  different  varieties  of  pile  fabrics  may  be  classified  in 
several  ways,  one  of  which  is  to  make  two  divisions,  one  to 
include  those  fabrics  in  which  the  pile  yarn  is  uncut  and 
remains  in  the  form  of  loops  issuing  from  the  body  of  the 
cloth,  and  the  other  to  include  those  in  which  the  pile  is  cut 
so  as  to  form  two  individual  ends  of  pile  projecting  from  the 
face  of  the  fabric.  Since,  however,  this  classification  does 
not  provide  for  those  fabrics  in  which  both  cut  and  uncut 
pile  is  combined,  it  is  not  sufficiently  definite.  Another 
classification  separates  the  different  varieties  of  pile  fabrics 
into  two  divisions,  one  of  which  includes  those  fabrics  of  a 
corduroy  nature,  in  which  the  pile  is  arranged  in  cords  run¬ 
ning  lengthwise  of  the  fabric,  while  the  other  embraces  those 
in  which  the  pile  extends  uniformly  over  the  entire  face  of 
the  cloth.  This  classification  also  is  not  sufficiently  compre¬ 
hensive,  since  certain  fancy  or  figured  pile  fabrics  cannot 
correctly  be  placed  in  either  class.  Another  system,  and  the 


§82 


PILE  WEAVES 


3 


one  adopted  here,  which  admits  of  a  definite  classification  of 
all  pile  fabrics,  provides  for  two  main  classes,  namely, 
filling-pile  fabrics,  in  which  the  pile  is  formed  of  filling 
yarn,  and  warp-pile  fabrics,  in  which  the  pile  is  formed  of 
warp  yarn. 

2.  In  all  pile  fabrics,  the  pile  yarn  is  uncut  when  the  cloth 
is  first  woven.  In  the  case  of  filling-pile  fabrics,  the  cutting 
is  the  object  of  a  special  process  performed  after  the  cloth  is 
taken  from  the  loom.  In  cut  warp-pile  fabrics,  the  cutting 
usually  takes  place  in  the  loom  after  ‘a  sufficient  number 
of  picks  have  been  inserted  to  prevent  the  cut  pile  being 
pulled  from  the  fabric;  in  some  warp-pile  fabrics,  however, 
the  pile  is  left  uncut  and  standing  in  loops. 

There  is  a  certain  similarity  in  warp-  and  filling-pile  fabrics, 
since  in  each  the  weave  is  so  arranged  as  to  produce  a  sub¬ 
stantial,  closely  woven  foundation,  or  ground,  cloth  that  is 
not  disturbed  during  the  cutting  process;  this  serves  to  hold 
the  pile  in  position  and  bind  it  after  it  is  cut,  so  that  the 
fabric  will  not  fray  easily  or  the  pile  be  loosened  from  the 
cloth.  In  many  filling-pile  fabrics,  it  is  customary  to  use 
only  one  size  or  quality  of  filling,  which  serves  on  certain 
picks  as  ground  filling  and  on  other  picks  as  pile  filling. 
When  the  ground  filling  is  inserted  in  the  cloth.,  the  sheds  are 
so  formed  as  to  cause  it  to  interlace  with  the  warp  in  such  a 
manner  as  to  form  the  ground  cloth.  When,  however,  the 
pile  filling  is  inserted,  all  the  warp  is  depressed  with  the 
exception  of  certain  ends  that  are  raised  so  as  to  allow 
the  pile  yarn  to  be  bound  to  the  ground  cloth.  The  pile 
filling,  therefore,  floats  over  the  ground  cloth  in  long  floats, 
the  length  of  which  depends  on  the  length  of  pile  desired; 
this  is  governed  by  the  position  of  the  ends  that  are  raised 
over  the  pile  pick  to  bind  it  to  the  ground  cloth.  The  prin¬ 
ciple  of  construction  of  a  filling-pile  fabric  closely  resembles 
that  of  an  ordinary  backed  cloth,  with  the  exception  that  in 
the  latter  the  extra,  or  backing,  filling  floats  on  the  back  of 
the  cloth,  while  in  a  filling-pile  fabric  the  extra,  or  pile, 
filling  floats  on  the  face  of  the  fabric. 


4 


PILE  WEAVES 


§82 


Owing  to  the  fact  that  separate  ground  and  pile  warps  are 
used  for  producing  warp-pile  fabrics,  it  is  not  customary  in 
this  case  to  have  both  the  pile  and  ground  warp  of  the  same 
material,  size,  or  quality.  Usually  the  pile  warp  is  a  finer 
yarn  and  constructed  of  superior  material.  While  it  would 
be  possible  to  make  a  warp-pile  fabric  on  the  same  principle 
as  a  filling-pile  cloth,  namely,  by  allowing  the  warp  to  float 
on  the  surface  of  the  cloth  so  that  it  may  afterwards  be  cut 
in  the  same  manner  as  in  filling-pile  fabrics,  this  method  is 
seldom  adopted.  The  usual  method  is  to  construct  loops  of 
pile  by  raising  the  pile  warp  and  inserting  a  wire  in  the 
shed.  The  pile  warp  being  depressed  under  the  ground 
picks  preceding  and  following  the  insertion  of  the  wire 
results  in  a  row  of  loops  of  pile  yarn  being  formed  across 
the  cloth  by  the  wire;  the  size  of  the  wire  governs  the  size 
of  the  loops.  In  case  it  is  desired  to  make  a  cut-pile  fabric, 
the  top  of  the  loop  is  cut  with  a  knife  either  before  or 
during  the  removal  of  the  wire,  while  if  the  pile  is  to  remain 
uncut,  the  wire  is  drawn  out  without  any  cutting  operation, 
which  leaves  a  row  of  loops  across  the  fabric. 


FILLING-PILE  FABRICS 


CORDUROYS 

3.  Perhaps  the  simplest  pile  fabrics  are  those  in  which 
the  pile  is  formed  with  extra,  or  pile,  filling;  and  of  this  class 
the  construction  of  that  variety  known  as  corduroy  is  the 
easiest  to  understand.  Corduroys  are  cotton  fabrics  char¬ 
acterized  by  brush-like  cords  of  pile  running  in  the  direction 
of  the  length  of  the  piece.  These  cords  are  formed  by 
allowing  certain  picks  of  filling,  called  the  pile  filling ,  to 
float  over  the  surface  of  the  fabric,  while  certain  other  picks, 
called  the  groiaid  picks ,  interlace  with  the  warp  in  such  a 
manner  as  to  form  a  firm  foundation,  or  ground,  cloth. 
After  the  cloth  is  woven,  the  floats  of  pile  filling  are  cut  in 
such  a  manner  as  to  form  the  series  of  ridges  of  pile  running 
lengthwise  of  the  cloth  that  is  the  distinctive  feature  of  a 


82 


PILE  WEAVES 


5 


corduroy  fabric.  These  ridges  are  rounded,  with  the  longest 
pile  in  the  center  of  the  ridge  and  shorter  pile  on  either  side, 
so  as  to  leave  a  well-defined  groove  between  the  cords;  in 
fact,  it  is  almost  possible  to  distinguish  the  ground  fabric 
between  the  ridges  of  pile,  especially  in  the  cheaper  grades. 
In  all  corduroy  cloths,  it  is  possible  to  observe  the  ground 
cloth  by  bending  the  fabric  so  as  to  separate  the  ridges 
of  pile. 

The  ground  weave  for  this  type  of  pile  fabrics  should  be 
of  simple  structure,  such  as  the  plain  weave,  or  basket  or 
twill  weaves,  the  latter  being  used  when  it  is  desired  to 
introduce  more  filling  into  the  ground  cloth  and  thus  make 
a  closer  and  heavier  fabric. 

4.  Fig.  1  shows  one  repeat  in  the  ends  and  two  repeats 
in  the  picks  of  a  corduroy  weave  in  which  the  ground  is 
woven  with  the  plain  weave.  The  first  pick  of  this  weave  is 
a  ground  pick,  the  second  and  third  are  pile  picks,  the  fourth 
pick  is  a  ground  pick,  and  the  fifth 
and  sixth,  pile  picks.  In  this  weave, 
the  interlacings  of  the  ground  picks 
with  the  warp  are  shown  by  the  filled 
black  squares  and  the  interlacings  of 
the  pile  filling  by  the  shaded  squares. 

This  method  of  showing  filling-pile 
weaves  is  adopted  here  only  for  the 
purpose  of  allowing  the  interfacings 
of  the  pile  and  ground  picks  to  be  readily  distinguished,  and 
is  not  actually  necessary,  since  all  marked  squares — whether 
black  or  shaded — represent  the  warp  raised. 

In  constructing  weaves  for  corduroy  fabrics,  after  the 
number  of  £nds  and  picks  on  which  the  weave  is  to  be  com¬ 
plete  have  been  determined,  the  first  step  in  representing  it 
on  design  paper  is  to  indicate  the  ground  picks  and  place  on 
them  the  desired  ground  weave,  which  in  the  case  of  Fig.  1 
is  the  plain  weave.  The  next  step  is  to  raise  certain  ends  of 
the  warp  over  the  pile  picks  so  as  to  bind  them  to  the  ground 
cloth.  Thus,  in  Fig.  1,  on  the  first  pile  pick,  which  is  the 


mnnnnnnw 
nmnnnc iwn 

wnnnnnnw 

□□□□ 

□□□□ 

nmnnnnwn 

□■□■□■□a 

mnnnnnnw 

nmnnnnwn 

mnnnnnnw 

nwnnnnwu 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

□□□□ 

?  Pile 


Ground 


6 


PILE  WEAVES 


§82 


second  pick  of  the  weave,  the  second  and  seventh  ends  are 
raised,  while  on  the  second  pile  pick,  which  is  the  third  pick 
of  the  weave,  the  first  and  eighth  ends  are  raised;  the  fifth 
and  sixth  picks  interlace  with  the  warp  exactly  the  same  as 
the  second  and  third,  respectively.  Two  adjacent  ends  are 
thus  alternately  raised  over  the  pile  picks  so  as  to  fasten 
them  to  the  foundation  cloth. 

These  two  ends  do  all  the  binding,  since  in  a  corduroy  the 
binding  points  of  the  pile  filling  run  lengthwise  of  the  piece, 
in  order  to  produce  a  series  of  floats  running  in  the  same 
direction  to  form  the  cord  when  cut.  For  binding  the  pile 
filling  in  corduroys,  2  ends  are  used  instead  pf'l  end  in  order 
to  make  the  cord  of  sufficient  width  to  cover  the  ground  well, 
and  also  so  as  to  make  the  cloth  more  compact  by  allowing 
the  ground  picks  to  be  placed  closely  together,  since  if  all 
the  pile  picks  were  tied  by  1  end,  the  intersections  of  the  pile 
filling  would  tend  to  hold  the  ground  picks  apart.  Moreover, 
if  1  end  were  used  for  tying  purposes,  that  end  would  be 
considerably  strained. 

Since  all  filling-pile  fabrics  are  woven  with  a  large  number 
of  picks  per  inch,  the  ground  picks  will  be  forced  together 
by  the  lay  of  the  loom  in  beating  up  the  filling  and  lie  side 
by  side;  thus,  in  Fig.  1,  the  first,  fourth,  seventh,  and  tenth 
picks  will  be  forced  close  together  and  form  a  plain  ground 
cloth.  This  will  cause  the  floats  of  the  pile  filling  to  be 
forced  to  the  face  of  the  cloth  and  float  over  the  closely 
woven  ground  cloth  except  at  those  points  where  it  is  bound. 
Thus  the  second  and  third,  fifth  and  sixth,  eighth  and  ninth, 
and  eleventh  and  twelfth  picks  will  be  very  tightly  com¬ 
pressed  between  the  ground  picks  at  those  points  where 
they  are  depressed  under  a  single  warp  end,  but  at  all  other 
points  will  float  over  the  surface  of  the  ground  cloth,  thus 
forming  ridges  or  lines  of  float  lengthwise  of  the  goods; 
these  ridges  are  known  as  races. 

Fig.  2  is  a  section  of  Fig.  1  showing  the  interlacings  of 
the  first  four  picks.  The  first  pick,  which  is  a  ground  pick, 
interlaces  with  the  warp  in  plain  order.  The  second  is  a 
pick  of  pile  filling  that  floats  over  all  the  warp  except  the 


§82 


PILE  WEAVES 


7 


second  and  seventh  ends,  which  are  lifted,  according  to  the 
weave  in  Fig.  1,  to  bind  the  pile.  The  third  is  a  pile  pick 
bound  to  the  ground  cloth  by  being  passed  under  the  first 
and  eighth  warp  ends.  The  fourth  pick  of  Fig.  1  is  shown 
in  Fig.  2,  and  is  the  second  pick  of  the  plain  ground  weave. 


Fig.  2 

If  the  fifth  and  sixth  picks,  which  are  pile  picks,  were 
shown,  their  interlacings  would  be  like  those  of  the  second 
and  third. 

In  order  to  form  the  characteristic  corduroy  cord,  the 
races  of  pile  filling  are  severed  at  the  points  of  intersection 
with  the  lines  a,  Fig.  2,  the  severed  ends  rising  and  forming 
a  cord  the  center  of  which  will  be  midway  between  the 
dotted  lines  a  at  the  point  where  the  pile  filling  is  bound 
into  the  cloth.  As  one  pick  of  pile  filling  alternately  floats 
over  4  and  6  warp  ends,  and  the  other  alternately  over  6  and 
4  ends,  after  the  floats  are  cut  the  length  of  the  pile  on  each 
side  of  the  binding  point  will  vary  slightly,  and  the  longer 


Fig.  3 


pile  will  have  a  tendency  to  remain  in  the  center  of  the  cord, 
while  the  shorter  pile  will  be  on  each  side,  thus  giving 
the  desired  rounded  appearance  of  the  cord  when  finished. 
Fig.  3  shows  the  appearance  of  the  section  in  Fig.  2  after  the 
pile  filling  has  been  cut. 


8 


PILE  WEAVES 


§82 


5.  Cutting  Corduroys. — The  cutting  of  filling-pile 

fabrics  is  accomplished  with  a  knife,  shown  in  Fig.  4, 

having  a  sharp-pointed  blade,  on  the  end  of  which  is  a 

sheath  that  is  brought  to  a  point  at  its  forward  end.  In 
operation,  the  point  of  the  sheath  is  inserted  in  the  race  of 
floats  formed  on  the  surface  of  the  cloth,  shown  in  Fig.  2,  and 
as  the  knife  is  pushed  forwards  the  yarn  is  raised  by  the 
sheath  b  until  it  comes  in  contact  with  the  sharp  cutting 
edge  of  the  knife  a  and  is  severed.  The  sheath  is  adjustable, 

a 

J  ~T~^r i - . -------  — »  r  —  - 

Fig.  4 

in  order  to  regulate  the  point  at  which  the  yarn  comes  in 

contact  with  the  knife,  so  that  the  knife  can  be  used  to  cut 

long  or  short  floats  of  the  pile  filling,  according  to  the  cloth 
that  is  being  made.  When  cutting  the  pile,  about  2  yards 
of  the  cloth  is  stretched  tightly  on  a  frame  and  the  operator, 
commencing  at  the  right-hand  side  of  the  cloth,  cuts  each 
race  of  floats  as  he  proceeds.  The  operation  of  cutting  the 
pile  on  a  filling-pile  fabric  is  a  laborious  task,  requiring  some 
skill  and  adding  materially  to  the  cost  of  the  fabric. 

After  the  pile  is  cut,  corduroy  fabrics  are  brushed  and 
singed  in  order  to  obtain  a  smooth,  rounded  cord,  and  are 
dyed  usually  dark  shades  of  brown  and  drab.  Corduroy 
fabrics  possess  excellent  wearing  qualities  and  are  largely 
used  for  rough  outdoor  wear. 

6.  If  the  back  of  a  cloth  woven  with  the  corduroy  weave 
shown  in  Fig.  1  is  examined,  the  appearance  of  plain  cloth 
will  be  recognized.  Those  portions  of  the  ground  fabric 
between  the  ends  that  bind  the  pile  filling  are  woven  with 
the  regular  plain  weave,  but  the  binding  ends  do  not  inter¬ 
lace  with  the  filling  exactly  as  in  a  plain  weave,  although  the 
difference  can  hardly  be  noticed,  owing  to  the  binding  points 
being  almost  covered  by  the  close  structure  of  the  fabric. 
Filling-pile  fabrics  that  are  woven  with  a  plain  ground  weave 
are  said  to  have  a  plain  back ,  or,  as  it  is  sometimes  termed  in 
the  textile  trade,  a  tabby  back.  Although  tabby  backs  are 


§82 


PILE  WEAVES 


9 


!□□□□□□! 


frequently  used,  all  corduroy  fabrics  are  not  constructed  with 
a  plain  ground  weave.  When  it  is  desired  to  produce  a  some¬ 
what  heavier  ground  cloth,  a  twill  weave  is  often  used  for  the 
ground  weave,  thus  permitting  more  picks  per  inch  to  be 
inserted. 

When  a  twill  weave  is  used  for  the  ground  weave,  it  gives 
a  distinctive  appearance  to  the  back  of  the  fabric,  which  is 
then  spoken  of  as  a  twill  back. 

The  weaves  most  commonly  used 
for  this  purpose  are  the  prunelle 
and  cassimere  twills.  Another 
name  for  the  prunelle  twill  is  the 
jean  twill;  from  this  is  derived  the 
term  jeanette  back ,  which  is  used 
when  the  ground  fabric  of  a  filling-pile  cloth  is  woven  with 
a  prunelle-twill  weave.  Fig.  5  shows  a  jeanette-back  cor¬ 
duroy  weave,  the  ground  weave  being  the  prunelle  twill.  In 


nmnooD mo 

mnooonam 

omonoomo 

mnoooooB 

umuuuum □ 

. 


□□□□  l  p.j 

*|na  Ground 

□  □□□  1  pj]p 

□□□□  I  Flle 
■  Ground 

OOOGl  1  poe 

□  Ground 


Fig.  5 


Fig.  6 


this  weave,  1  pick  of  ground  filling  alternates  with  2  pile 
picks,  the  latter  being  bound  to  the  cloth  by  being  passed 
under  certain  warp  ends  in  a  similar  manner  to  that  employed 


Fig.  7 


in  Fig.  1.  Fig.  6  is  a  section  of  Fig.  5  showing  the  inter¬ 
lacings  of  the  first  3  picks,  the  pile  filling  in  this  case  being 
uncut.  In  Fig.  7  a  section  is  shown  of  Fig.  5  in  which  the 


10 


PILE  WEAVES 


§82 


maoaoaam 

omooDnma 

maaaaaam 


omnaoomo 

amaaaamo 

nmuonnmo 


□□□□  i  p;ie 
□□□□ ; 1 116 

HDDBI  Ground 

mipfle 

□□□□/ 

Ground 
□  □□□)  pile 
□□□□/ nle 

□  Ground 

□□□□  1  p:ie 

Ground 


Fig.  8 


pile  filling  has  been  cut  so  as  to  form  the  characteristic  cor¬ 
duroy  cord.  Fig.  8  is  another  corduroy  weave,  but  in  this 

case  the  cassimere  twill  is  used 
for  the  ground  weave;  this  weave 
closely  resembles  the  one  shown 
in  Fig.  5,  with  the  exception  that  a 
different  ground  weave  is  used — 
it  will  produce  a  twill-back  cor¬ 
duroy. 

In  the  corduroy  weaves  that 
have  been  shown,  1  pick  of  ground  filling  has  alternated  with 

2  picks  of  pile  filling,  but  in  some  cases  corduroy  weaves  are 
constructed  in  which  1  pick  of  ground  filling  alternates  with 

3  picks  of  pile  filling.  Fig.  9 
shows  such  a  weave,  in  which 
the  first  pick  is  a  ground  pick 
and  the  next  3  picks  pile  picks 
bound  to  the  ground  cloth  as 
indicated.  The  ground  weave 
in  this  case  is  the  4-harness 
basket  weave.  Fig.  10  is  a  sec¬ 
tion  showing  the  interlacings  of 
the  first  4  picks  of  Fig.  9;  in 
this  figure,  the  pile  filling  is  shown  cut  so  that  the  cord  is 
formed  as  in  all  corduroy  fabrics. 

In  the  weaves  already  described,  each  pile  pick  is  bound  to 


□□□□□□□□ 

□□□□□□□□ 

BDBDCMIIO 

□bddodbd 

□□□□□□□□ 

□□□□□□□□ 

□BDCWCMD 

BOBCinSCO 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

MIMBCMDB 

□HDHECOa 

□□□□□□□□ 

□□□□□□□□ 

□□□BDDDB 

□□□□□□□□ 

□□□□□□□□ 

□BDBBDBB 

BDBBDBnB 

|pil( 

Gro 

Jpil< 

Gro 

Jpil( 

Gro 

jpii< 


Fig.  9 


the  ground  cloth  by  being  passed  under  only  1  end  of  the  warp, 
but  in  some  varieties  of  filling-pile  weaves  the  pile  picks  are 
bound  more  securely  by  being  passed  under  one  end,  over 


§82 


PILE  WEAVES 


11 


the  next,  and  under  the  third,  before  floating,  which  causes 
the  weave  to  require  a  larger  number  of  ends  in  the  repeat 
in  order  to  obtain  any  given  length  of  pile-filling  float. 

The  proportion  of  pile  picks  to  ground  picks  varies  in  dif¬ 
ferent  corduroy  weaves,  and  although  2  picks  of  pile  to  1  pick 
of  ground  is  the  usual  proportion,  these  weaves  are  sometimes 
made  with  2  of  pile,  1  of  ground,  1  of  pile,  1  of  ground,  or 
3  of  pile,  1  of  ground,  2  of  pile,  1  of  ground;  and  in  special 
cases  other  combinations  are  used. 

The  number  of  ends  over  which  the  pile  filling  floats  also 
affects  the  repeat  of  the  weave.  Those  weaves  already  given 
represent  the  smallest  floats  that  are  generally  used,  but  in 
order  to  make  more  pronounced  cords  it  is  not  unusual  to 
have  the  filling  float  over  a  larger  number  of  ends — from 
7  to  15,  or  even  more. 


VELVETEEN 

7.  Besides  corduroy,  in  which  the  pile  is  distributed  in 
lines  running  lengthwise  of  the  goods,  there  is  a  filling-pile 
fabric — that  known  as  velveteen — in  which  the  pile  is  uni¬ 
formly  distributed  over  the  entire  surface  of  the  cloth,  pro¬ 
ducing  a  level  pile  that  completely  hides  the  ground  cloth 
from  view.  Since  the  pile  in  this  fabric  is  formed  by  an 
extra,  or  pile,  filling,  the  name  velveteen  is  used  to  distin¬ 
guish  it  from  the  true  velvet,  which  is  formed  with  an  extra, 
or  pile,  warp.  As  the  object  in  a  fabric  of  this  description 
is  to  produce  a  pile  over  the  entire  surface  of  the  cloth, 
every  end  at  some  point  or  points  may  be  used  to  bind  the 
pile  filling;  but  more  frequently  every  other  end  only  is  used 
for  this  purpose,  the  binding  points  occurring  often  on  a 
twill  and  sometimes  on  a  satin  basis.  In  arranging  the 
weave  for  a  velveteen,  the  most  important  points  to  be  pro¬ 
vided  for  are  the  formation  of  proper  races,  or  lines  of  floats, 
for  the  cutter,  and  a  good  method  of  binding  pile  picks. 

The  velveteen  pile  is  cut  in  a  somewhat  similar  way  to  the 
cutting  of  corduroy,  except  that  the  cutting  knife  runs  diag¬ 
onally  across  the  cloth,  whereas  in  corduroy  fabrics  it  is  run 
in  a  direction  parallel  to  the  warp.  The  number  of  traverses 


92—25 


12 


PILE  WEAVES 


§82 


to  be  made  by  the  cutting-  knife  for  velveteens  is  much 
greater  than  for  corduroys;  frequently  it  must  be  run  across 
several  hundred  times  in  order  to  cut  the  pile  on  2  yards  of 
fabric.  The  number  of  races  for  the  cutting  knife  affects 
the  expense  of  cutting  velveteen,  so  that  if  the  number  of 
races  can  be  reduced,  the  expense  is  lessened.  The  number 
of  races,  however,  must  not  be  reduced  to  such  an  extent  as 
to  produce  a  ridgy  or  corded  effect,  since  a  perfect  velveteen 
should  have  an  absolutely  even  surface.  By  arranging  the 
binding  points  so  as  to  produce  only  a  sufficient  number  of 
races  for  the  particular  quality  of  fabric  being  produced, 
satisfactory  results  are  obtained,  and  the  number  of  traverses 
of  the  cutting  knife  reduced  to  a  minimum. 


8.  One  of  the  most  common  velveteen  weaves  is  shown 
in  Fig.  11,  which  gives  four  repeats  of  the  weave.  This 

weave  is  woven  with  1  pick  of  ground 
Plle  filling  and  3  picks  of  pile  filling,  the 
croud  pjCks  being  tied  to  every  alter- 

Plle  nate  end  of  the  ground  fabric  in  twill 
Ground  or(jen  The  grounci  weave  is  the 

Pile  plain  weave  and  the  pile  filling  floats 
Ground  over  5  warp  ends.  The  number  of 
PiIe  ends  over  which  the  pile  filling  floats 
Ground  is  one  0f  Tie  features  that  govern  the 
length  of  the  pile  on  the  face  of  the 
goods;  thus  it  may  float  over  3  or  5  ends  for  a  short  pile, 
or  over  7  or  9  ends  for  a  longer  pile.  Fig.  12  is  a  section 
of  the  weave  shown  in  Fig.  11,  illustrating  the  interlacings 


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Fig.  11 


Fig.  12 


of  the  first  5  picks;  in  this  figure,  the  pile  is  supposed  to 
have  been  cut. 


82 


PILE  WEAVES 


13 


Fig.  13  shows  a  weave  for  a  velveteen  that  is  very  similar 
to  the  weave  shown  in  Fig.  11,  the  chief  difference  being 
that  in  this  weave  4  pile  picks  alternate  with  1  ground  pick, 
while  in  Fig.  11,  3  pile  picks  alternate  with  1  ground  pick;  in 
this  weave,  also,  the  pile  filling  floats  over  7  ground  ends. 
In  Fig.  14  is  shown  a  weave  for  a  velveteen  that  is  similar 


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•Pile 

Ground 

•Pile 

Ground 

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mooooaa □ 

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Pile 

Ground 

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Ground 


Fig.  13 


Fig.  14 


to  Fig.  13,  in  that  the  ground  weave  is  the  plain  weave,  but 
in  this  figure  the  pile  filling  is  bound  to  the  ground  cloth  in 
8-end  satin  order.  This  design  will  weave  better  than 
Fig.  13,  because  the  interlacings  of  the  pile  picks  are  equally 
distributed  over  all  the  warp  ends,  but  it  will  be  more 
difficult  to  cut. 

If  a  heavy,  or  thick,  pile  on  the  face  of  the  fabric  is 
desired,  the  picks  per  inch  can  be  increased  proportionately; 
while  if  a  light,  or  thin,  pile  is  desired,  the  picks  per  inch  can 
be  reduced. 

Velveteens,  like  corduroys,  may  be  made  with  twills  or 
other  simple  weaves  for  ground  weaves;  Fig.  15  shows 
a  weave  made  in  this  manner.  The 
ground  is  the  cassimere  twill  and 
the  pile  picks  are  tied  to  the  warp 
in  twill  order.  The  weave  is 
arranged  1  pick  of  ground  and  3 
picks  of  pile  filling. 


9.  In  the  velveteen  weaves 
given  so  far,  the  pile  filling,  at  each 
place  where  it  is  being  tied  to  the 
ground,  passes  under  a  single  warp 


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aamaaaaa 
maaaaam □ 

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noma) 

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□□□□J 

COBB  Ground 

□□□  >Pile 
□□□□) 

□  BBD  Ground 

□□HD) 

□□□  V  Pile 

□  □□□j 

■  Ground 


Fig.  15 

end.  By  this  method, 
however,  there  is  some  danger  of  the  pile  being  pulled  from 
the  cloth  in  the  cutting,  especially  if  the  cutting  knife  is  a 


14 


PILE  WEAVES 


§82 


little  dull.  To  prevent  the  possibility  of  this  happening, 
velveteen  is  often  made  with  the  pile  pick  interlacing  with 

3  warp  ends,  as  shown  in  Fig.  16; 
Pile  that  is,  between  each  long  cutting 
Ground  float  the  pile  pick  passes  under  a 
p>ie  warp  end,  then  over  a  single  end, 
Ground  an(j  finaHy  under  another  end. 

Fig.  17  is  a  section  of  the  weave 
in  Fig.  16,  showing  the  interlacings  of  the  second,  third,  and 
fourth  picks,  which  are  pile  picks,  and  the  method  of  tying 
them  into  the  ground;  it  will  be  seen  that  they  are  much 
more  firmly  tied  by  this  method  than  when  they  are  passed 


under  only  1  end  of  the  warp.  If  it  is  necessary  to  secure 
the  pile  even  more  than  in  Figs.  16  and  17,  the  pile  picks 
may  be  made  to  interlace  with  5  ends  of  the  warp  instead 
of  3  ends. 

Fabrics  in  which  the  pile  is  formed  by  an  extra  filling  may, 
in  general,  be  woven  from  one  beam;  and  in  cases  where  the 
pile  filling  is  of  the  same  yarn  as  the  ground  filling,  in  single¬ 
box  looms.  Sometimes,  however,  a  different  filling  is  used 
for  the  pile,  in  which  case  a  box  loom  is  necessary,  and 
when  a  single  pick  of  ground  or  an  odd  number  of  pile 
picks  is  placed  in  the  cloth  a  pick-and-pick  loom  is  required. 
In  consequence  of  the  pile  filling  floating  on  the  face  of  the 
goods,  a  large  number  of  picks  per  inch  is  required;  in  some 
cases,  where  a  fine,  thick  pile  is  produced,  there  are  as  many 
as  400  picks.  The  harness  and  chain  drafts  for  filling-pile 
fabrics  are  made  exactly  the  same  as  for  single  cloth,  and 
therefore  need  no  further  description. 

10.  The  length  and  density  of  the  pile  in  filling-pile 
fabrics  may  be  easily  altered  when  it  is  necessary  to  meet 


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mamaaaa □ 


mama) 

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mama) 

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Fig.  16 


82 


PILE  WEAVES 


15 


some  special  demand.  The  length  of  the  pile  may  be 
changed  by  allowing  the  pile  filling  to  float  over  a  greater 
number  of  ends,  so  that  when  the  floats  are  cut  the  length  of 
the  pile  will  be  increased.  If,  however,  the  length  of  the 
pile  is  increased  and  the  number  of  picks  per  inch  remains 
the  same,  the  density  of  the  pile  will  be  reduced.  For 
instance,  suppose  that  the  pile  filling  in  a  fabric  was  floating 
for  &  inch  on  the  face  of  the  cloth  and  that  the  length  of  the 
floats  was  increased  to  i  inch;  if  the  number  of  picks  per 
inch  remained  the  same,  the  density  of  the  pile  would  be 
reduced  one-half.  In  order  to  keep  the  same  density  of  pile, 
therefore,  the  number  of  picks  per  inch  should  be  doubled. 
A  case  like  this  may  always  be  treated  proportionately,  and 
the  number  of  picks  per  inch  increased. 

Whenever  the  fineness  of  the  ground  cloth  is  altered,  there 
is  a  corresponding  alteration  in  both  the  density  and  length 
of  the  pfle.  For  instance,  if  more  warp  threads  per  inch  are 
placed  in  the  cloth,  the  pile  picks  in  floating  over  the  same 
number  of  ends  will  make  shorter  floats,  which,  of  course, 
will  shorten  the  pile.  The  density  of  the  pile  will  be  altered 
at  the  same  time,  since  the  binding  points  of  the  pile  will  be 
brought  closer  together.  Any  change  in  the  number  of  picks 
per  inch  affects  the  density  of  the  pile,  but  does  not  change 
its  length. 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  corduroy  weave  to  be  picked  1  ground  and  2  pile,  the 
ground  weave  to  be  plain  and  the  pile  filling  to  float  over  5  and  7  ends. 

2.  Make  a  section  of  the  above  weave,  showing  the  interlacings  of 
the  first  3  picks.  The  pile  is  to  be  shown  uncut. 

3.  Make  a  corduroy  weave  to  be  arranged  1  pick  of  ground  and 
2  picks  of  pile  filling,  the  ground  to  be  the  4-harness  twill.  Arrange  the 
tying  places  of  the  pile  filling  so  that  the  pile  will  float  over  6  and 
8  ends. 

4.  Make  a  section  of  the  above  weave,  showing  the  interlacings  of 
the  first  3  picks.  Show  the  pile  picks  uncut. 

5.  Make  an  original  weave  for  a  velveteen  cloth. 

6.  Make  a  weave  for  a  velveteen,  the  ground  weave  to  be  the 
twill  and  3  picks  of  pile  filling  to  alternate  with  1  pick  of  ground 

filling. 


16 


PILE  WEAVES 


§82 


FIGURED  FIELING-PILE  FABRICS 

11.  Figured  effects  may  be  produced  in  connection  with 
filling-pile  fabrics  by  allowing  the  pile  to  be  formed  on  the 
face  of  the  ground  cloth  according  to  a  given  motive.  When 
it  is  not  desired  to  produce  the  pile,  the  pile  filling  is  allowed 
to  float  at  the  back  of  the  ground  fabric.  In  this  manner  any 
figure  may  be  produced  in  pile  on  a  plain  or  twilled  ground. 

In  Fig.  18  (a)  a  motive  is  shown  for  a  filling-pile  figure 
to  be  placed  on  a  plain  ground  cloth,  while  in  Fig.  18  ( b ) 
the  complete  design  is  shown.  In  Fig.  18  (a)  the  shaded 
squares  represent  the  method  of  allowing  the  pile  filling  to 
float  on  the  surface  of  the  fabric,  but  in  Fig.  18  ( b )  the 
shaded  squares  represent  warp  raised  over  the  pile  filling. 
This  design  is  arranged  3  picks  of  pile  filling  and  1  pick  of 

ground;  therefore,  the 
complete  pattern  occu¬ 
pies  24  ends  and  96 
picks,  since  the  motive 
is  complete  on  24  ends 
and  24  picks.  The  con¬ 
struction  of  this  design 
should  be  carefully  stud¬ 
ied,  since  although  this 
is  a  small  and  compara¬ 
tively  simple  pattern,  all 
designs  of  this  class  are 
constructed  on  the  same 
principle.  It  will  be 
noticed  that  where  the 
figure  occurs  the  construction  of  the  design  is  the  same  as  a 
simple  velveteen  weave,  but  where  the  ground  of  the  fabric 
is  to  be  plain  all  the  warp  is  raised,  allowing  the  pile  filling 
to  float  on  the  back  of  the  cloth,  and  enabling  the  ground 
picks  to  be  forced  together  to  form  the  ground  fabric.  This 
waste  yarn  is  afterwards  cut  from  the  back  of  the  fabric. 
Thus,  pile  is  formed  only  where  the  figure  occurs.  Great 


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WMMWMMMM  > 

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□□□□yyyy 

WMMMWMMM  1 

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Ground 

Pile 

Ground 

Pile 

Ground 

Pile 

Ground 

Pile 

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Pile 

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Pile 

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Pile 

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Pile 

Ground 

Pile 

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•Pile 

Ground 


Fig.  18  (i) 


18 


PILE  WEAVES 


§82 


care  must  be  taken  in  arranging  the  binding  points  of 
the  pile  filling  where  the  figure  occurs,  so  that  proper 
races  may  be  formed  for  the  cutting  knife,  especially  in 
the  more  complicated  patterns. 


WARP-PILE  FABRICS 

12.  Warp-pile  fabrics,  although  similar  to  filling-pile 
fabrics,  are  constructed  in  a  slightly  different  manner,  as  the 
pile  effect  is  obtained  by  means  of  an  extra,  or  pile,  warp; 
two  warps  are  therefore  necessary — one  for  the  ground 
cloth  and  another  for  the  pile.  There  are  two  effects 
obtained  with  warp  pile — one  in  which  the  pile  yarn  is 
uncut  and  forms  upright  loops  on  the  surface  of  the  fabric, 
and  another  in  which  the  pile  is  cut  to  form  a  brush-like 
surface  on  the  goods;  in  the  former  case  the  pile  is  known 
as  terry  pile ,  while  in  the  latter  case  a  true  velvet ,  or 
plush ,  pile  is  formed. 

13.  In  the  production  of  warp-pile  fabrics,  the  pile  is 
produced  by  raising  the  pile  warp  over  a  wire  and  then 
depressing  it  to  interlace  with  the  ground  again.  When  the 
pile  shed  is  formed  in  the  loom,  the  wire  is  inserted;  and  as 
the  shed  closes  on  the  wire  and  the  lay  beats  up,  the  wire  is 
forced  up  on  the  surface  of  the  cloth,  thus  forming  the  loops. 
The  pile  warp  should  be  down  on  the  picks  preceding  and 
following  the  wire.  It  is  not  necessary  to  raise  all  the  pile 
warp  when  each  wire  is  inserted,  since  a  better  distribution  of 
the  pile  may  often  be  obtained  by  raising  every  alternate  end 
of  the  pile  warp  over  one  wire  and  then  raising  the  other  ends 
over  the  next  wire.  The  thickness  of  the  wire  regulates  the 
size  of  the  loops  made  by  the  pile  warp,  and  consequently 
the  length  of  the  pile.  Where  the  pile  is  disposed  in  loops, 
as  in  a  Brussels  carpet,  the  wire  is  smooth;  but  when  it  is  cut, 
as  in  velvet,  a  knife  at  the  end  of  the  wire  cuts  the  loops  of 
pile  when  the  wire  is  withdrawn. 

In  power  looms,  the  wires  are  inserted  automatically  when 
the  pile  shed  is  formed  and  are  often  withdrawn  automatic¬ 
ally,  although  they  are  sometimes  drawn  out  by  the  weaver, 


§82 


PILE  WEAVES 


19 


either  cutting  the  pile  or  leaving  it  in  loops,  according  to 
whether  or  not  there  is  a  knife  on  the  end  of  the  wire. 

Fig.  19  is  a  view  of  a  wire  knife  designed  to  be  inserted 
under  the  pile  and  withdrawn  automatically.  The  knife  of 
the  wire  is  shown  at  b,  while  at  a  the  portion  on  which  the 
mechanism  of  the  loom  operates  is  shown.  The  wire  is 
withdrawn  by  means  of  a  hooked  lever  that  engages  with 
the  head  a,  and  is  actuated  by  a  cam  placed  at  the  side  of 


the  loom.  The  wires  are  not  withdrawn  immediately  after 
being  inserted  in  the  pile  shed,  but  are  allowed  to  remain 
in  the  cloth  until  they  are  a  short  distance  from  the  fell  of 
the  cloth,  since  if  the  wire  were  withdrawn  immediately,  the 
tension  of  the  warp  would  pull  the  pile  ends  from  the  cloth 
if  the  pile  was  cut,  or  pull  down  the  loops  if  it  was  not  cut. 

Many  of  the  most  beautiful  and  costly  plushes  and  velvets 
are  woven  on  hand  looms,  even  today,  in  Europe.  In  this 
case,  a  different  method  is  employed  for  cutting  the  pile. 
The  wire  used  is  flattened  or  elliptical  in  section, 
and  has  a  groove  cut  in  it  so  that  its  section 
appears  as  shown  in  Fig.  20.  This  wire  is  inserted 
by  hand  when  the  pile  shed  is  formed,  and  before 
it  is  withdrawn  a  knife,  or  trevet ,  is  drawn  along 
the  groove  in  the  wire,  thus  neatly  severing  the 
loops  of  pile.  When  the  pile  is  not  to  be  cut  an  ungrooved 
wire  is  inserted. 


Fig. 20 


14.  The  weave  in  Fig.  21  shows  several  repeats  of  a 
simple  warp,  or  true,  velvet  arranged,  in  the  warp,  2  ends  of 
ground  and  1  end  of  pile  and,  in  the  filling,  3  picks  of  ground 
and  1  shed  with  the  wire  inserted  instead  of  a  pick  of  filling. 
This  weave  is  complete  on  3  ends  and  4  picks,  but  for  the 
purpose  of  illustration  several  repeats  are  shown.  If  this 


20 


PILE  WEAVES 


§82 


weave  is  analyzed  carefully,  it  will  be  seen  that  the  ground 
weave  is  virtually  plain,  but  that  when  the  pile  warp  is  lifted 
over  the  wire,  as  shown  by  the  shaded  squares,  2  ground 

picks  are  placed  in  1  shed,  and  the 
pile  warp  is  raised  over  the  wire 
between  them.  Therefore,  as  these 
wire  2  picks  are  forced  up  by  the  lay, 
Ground  the  wire  will  be  forced  to  the  sur- 
wire  face  of  the  fabric,  carrying  the  pile 
Ground  warp  with  it  and  thus  forming  the 
loops  of  pile,  the  size  of  which  will 
depend  on  the  diameter  of  the  wire. 
The  pile  warp  is  also  raised  over  a  ground  pick,  as  shown 
by  the  dotted  squares,  for  the  purpose  of  binding  it  to  the 
ground  more  firmly.  The  section  in  Fig.  22,  which  shows 
the  interlacings  of  the  third,  or  pile,  end  of  Fig.  21  with 
the  filling  and  wires,  illustrates 
this  point  more  clearly.  The 
wire  is  elliptical  in  section; 
thus,  when  the  reed  is  brought 
against  it,  the  wire  is  raised 
on  the  surface  of  the  cloth  with 
its  longer  axis  vertical,  thus 
gaining  the  requisite  length  of  pile  without  forcing  the 
adjacent  ground  picks  apart.  When  the  wires  are  withdrawn, 
terry  pile  will  be  formed  if  there  is  no  knife  on  the  end  of  the 
wire,  and  velvet  pile  if  the  loops  are  cut. 

Warp-pile  fabrics  are  woven  with  two  warps,  the  tension  on 
the  ground  warp  being  fairly  tight  so  as  to  give  the  ground 
the  requisite  firmness,  and  the  tension  on  the  pile  warp  being 
slack  in  order  that  the  wires  may  be  easily  forced  to  the  sur¬ 
face  of  the  cloth  and  the  pile  thus  formed. 

15.  In  drafting  a  weave  similar  to  that  shown  in  Fig.  21, 
it  is  customary  to  separate  the  pile  and  ground  harnesses  in 
the  same  manner  as  the  face  and  back  harnesses  are  separated 
when  drafts  are  made  for  double  cloth,  the  pile  warp  being 
drawn  on  the  front  harnesses.  The  harness  and  chain  drafts 


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Fig.  21 


82 


PILE  WEAVES 


21 


for  Fig.  21,  constructed  in  this  manner,  are  shown  in  Fig.  23 
(a)  and  (b) .  In  order  that  the  ends  may  not  be  crowded  on 
the  harnesses,  since  a  large  number  of  ends  are  necessary 
for  a  warp-pile  fabric,  these  drafts  are 
shown  on  6  harnesses,  although  they  could 
be  made  on  3  harnesses. 


VELVETS 

16.  Velvet  fabrics,  for  which  Fig.  21 
is  a  weave,  are  usually  made  with  either 
a  cotton,  linen,  or  silk  ground  warp  and 
filling  and  a  silk  pile  warp;  it  is  only  in 
the  more  costly  fabrics  that  silk  is  used 
for  the  ground,  cotton  or  linen  being  gen¬ 
erally  employed.  The  ground  weave  is  usually  either  the 
plain  weave  or  a  small  rib,  basket,  or  twill  weave.  The  pro¬ 
portion  of  pile  warp  and  ground  warp,  as  well  as  the  length 
of  the  pile,  varies  with  different  qualities  of  fabrics.  Velvets 
are  often  classified  as  2-pick,  3-pick,  etc.,  the  terms  refer¬ 
ring  to  the  number  of  ground  picks  inserted  between  the 
wires;  the  design  shown  in  Fig.  21  would  be  known  as  a 
3-pick  velvet. 

Fig.  24  shows  a  very  common  velvet,  known  as  the  2-pick; 
the  warp  ends  are  arranged  1  ground,  1  pile,  and  1  ground; 
the  ground  weave  is  the  plain  weave.  In  Fig.  25  a  similar 
design  is  shown,  with  the  exception  that  the  ground  is  a  rib 


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Fig.  25 


weave.  The  method  of  interlacing  the  pile  warp  should  be 
noticed  in  connection  with  these  two  designs.  Although  it 
was  stated  that  the  pile  warp  should  be  depressed  on  the 
pick  preceding  and  on  the  pick  following  the  wire,  an 


22 


PILE  WEAVES 


§82 


exception  is  sometimes  made  to  this,  as  in  the  case  of 
Figs.  24  and  25,  where  the  pile  warp  is  raised  over  the  pick 
preceding  the  wire.  However,  although  it  is  not  always 
possible  to  depress  the  pile  warp  on  the  pick  preceding  the 
H  H  H  wire,  after  being  raised  over  the  wire 

it  must  always  be  depressed  under  the 
pick  following,  in  order  to  force  the  wire 
to  the  surface.  In  these  two  designs  the 


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^  .  being  passed  under  1  pick;  it  would 

□  Ground  therefore  be  more  liable  to  be  pulled  out 
FlG-26  than  the  pile  in  Fig.  21,  which  is  inter¬ 

laced  with  3  picks.  When  it  is  desired  to  insert  more 
picks  per  inch,  a  twill  is  often  used  for  the  ground  weave 
of  warp-pile  fabrics.  In  Fig.  26  a  weave  of  this  description 
is  given;  the  ground  weave  in  this  instance  is  the  warp 
prunelle  twill. 


17.  Sometimes  only  a  portion  of  the  pile  is  lifted  over 
one  wire,  while  the  remaining  portion  is  lifted  over  the  next 
wire,  thus  forming  an  alternate  distribution  of  the  pile, 
which  covers  the  ground 

23  T3  T3  *0  T3  T3  “ 

better  in  some  instances. 

In  Fig.  27  a  weave  for 


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a  a  Wire 

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Fig.  27 


Fig.  28 


what  is  known  as  Utrecht  velvet  is  shown;  when  the  first 
wire  is  inserted  every  alternate  end  of  the  pile  warp  is 
raised  over  it,  and  when  the  next  wire  is  inserted  those  ends 


82 


PILE  WEAVES 


23 


that  were  depressed  under  the  first  wire  are  raised,  while 
those  that  were  previously  raised  are  depressed.  The  ground 
weave  in  this  instance  may  be  considered  as  a  plain  weave 
with  2  picks  in  a  shed  or  as  a  small  rib  weave.  The  weave 
in  Fig.  28  is  of  the  same  type  as  that  in  Fig.  27,  with  the 
exception  that  the  ground  weave  in  the  latter  design  is  the 
twill.  In  order  to  effect  the  alternate  distribution  of 
the  pile  over  the  wires,  it  is  necessary  to  have  an  even 
number  of  ground  picks  between  the  wires,  while  with 
all  the  pile  warp  lifted  on  each  wire  the  pile  can  be  best 
arranged  with  an  odd  number  of  ground  picks  between 
the  wires. 

Fig.  29  is  a  section  of  the  weave  in  Fig.  28  and  shows  the 
interlacings  of  the  first  and  second  pile  ends  with  the  filling, 


and  also  the  alternate  interlacing  with  the  wires.  The  inter¬ 
lacings  of  the  ground  ends  are  not  shown. 

The  density  and  length  of  the  pile  in  warp-pile  fabrics  may 
be  altered  to  suit  the  requirements  of  the  designer.  The 
density  may  be  increased  by  introducing  more  wires  or  by 
using  more  pile  and  ground  ends.  The  length  is,  of  course, 
regulated  by  the  size  of  the  wires  inserted  in  the  pile  shed. 


DOUBLE  PLUSHES 

18.  By  the  system  of  weaving  warp-pile  fabrics  known 
as  the  double-plush,  two  plush  fabrics  are  formed  in  the 
loom  face  to  face,  being  connected  by  the  pile,  which  passes 
from  one  cloth  to  the  other.  After  the  filling  is  inserted, 
the  two  cloths  are  wound  on  separate  cloth  rollers,  the  pile 
between  being  cut  by  a  knife,  thus  leaving  a  pile  face  on 
each  fabric.  The  knife  is  set  between  two  rollers  and  is 


24 


PILE  WEAVES 


82 


given  a  reciprocating  motion  by  means  of  a  cam  at  the  side  of 
the  loom;  thus,  when  the  cloth  is  drawn  forwards,  the  pile  con¬ 
necting  the  fabrics  is  neatly  severed.  By  this  method,  plain 
velvets  and  plushes  may  be  manufactured  and  perfect  fabrics 
obtained,  but  the  process  does  not  lend  itself  so  readily  to 
fancy  figured  effects.  The  main  advantage,  of  course,  is 
the  large  production  that  may  be  obtained  by  this  method. 

The  weave  in  Fig.  30  illustrates  one  method  of  producing 
double-plush  weaves.  This  weave  is  complete  on  5  ends; 

2  ends  are  face  ground  ends  and  weave  the 
ground  for  the  top  fabric,  while  2  ends  are 
back  ground  ends  and  produce  the  ground  for 
the  bottom  fabric.  The  pile  end  passes  from 
one  ground  cloth  to  the  other,  thus  producing 
the  pile  on  the  surface  of  each  cloth  when  they 
are  cut  apart.  This  weave  is  complete  on  6  picks;  3  picks 
are  backing  picks  and  interlace  with  the  bottom  fabric,  while 
3  picks  are  face  picks  and  interlace  with  the  top  fabric. 

In  Fig.  31  a  section  of  the  weave  in  Fig.  30  is  shown. 
The  method  of  interlacing  the  pile  warp  with  both  ground 
cloths  will  be  understood  by  carefully  comparing  the  section 
with  the  weave.  In  order  to  show  the  interlacings  of  the 
pile  warp  more  thoroughly,  two  repeats  are  shown  in  Fig.  31; 
the  dotted  line  shows  where  the  fabrics  would  be  cut  apart, 


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Pig. 30 


Fig. 31 


thus  forming  two  perfect  plush  fabrics.  It  will  be  noticed 
in  this  figure  that  the  picks  in  each  fabric  are  shown  in 
sections  of  three;  this  is  only  to  show  the  interlacings  of 
the  ends  more  clearly;  the  lay,  of  course,  would  actually 
beat  the  picks  up  to  each  other  and  make  two  closely 
woven  fabrics. 


82 


PILE  WEAVES 


25 


TERRY  TOWELS 

19.  Besides  the  double-plush  method,  which  produces  a 
cut  pile  on  the  fabric,  there  is  another  method  of  producing 
a  pile  fabric  without  the  use  of  wires,  which  is  commonly 
used  in  the  production  of  what  are  known  as  terry  towels; 
in  this  case  the  pile  is  uncut,  being  produced  by  an  especially 
constructed  loom. 

These  towels  are  produced  in  the  loom  by  means  of  two 
warps — a  ground  and  a  pile  warp — as  is  the  case  with  all 
warp-pile  fabrics,  but  the  method  of  producing  the  pile  is  dif¬ 
ferent.  The  ground  warp  is  arranged  with  a  heavy  tension, 
while  the  beam  of  the  pile  warp,  which  is  placed  above  the 
loom,  is  weighted  very  lightly,  just  enough  friction  being 
applied  to  prevent  its  turning  too  easily;  this  friction  is  regu¬ 
lated  by  a  pattern  chain.  For  2  picks,  the  pile  warp  is  held 
tight;  but  on  the  third  the  friction  is  taken  off.  The  reed  is 
so  arranged  that  the  first  2  picks  are  not  forced  up  to  the 
fell  of  the  cloth  but  are  left  a  short  distance  from  it;  the 
distance  being  regulated  by  the  length  of  the  pile  desired. 
When  the  third  pick  is  placed  in  the  cloth,  however,  all 
3  picks  are  forced  home  to  the  body  of  the  cloth;  and  as 
the  pile  warp  is  lightly  weighted  on  this  pick  it  will  be 
pushed  out  in  loops  more  or  less  evenly  distributed  on 
each  side  of  the  towel.  Since  the  ground  warp  is  heavily 
weighted,  it  does  not  come  forwards  with  the  pile  warp,  but 
the  3  picks  slip  on  it  and  are  carried  to  the  body  of  the  cloth. 

20.  In  Fig.  32  is  shown  a  section  that  illustrates  the 
interlacings  of  the  pile  warp  with  3  picks  of  filling.  This 
section  is  shown  as  it  would  appear  if  the  filling  did  not  slio 


Fig.  32 


on  the  ground  warp,  but  in  Fig.  33  is  shown  a  section  in 
which  the  picks  have  been  forced  home  and  the  loops  of  pile 
warp  formed  on  each  side  of  the  towel.  The  weave  foi 


26 


PILE  WEAVES 


§82 


producing  the  standard  terry  towel,  of  which  Figs.  32  and  33 
are  sections  showing  the  interlacings  of  the  first  and  third, 
or  pile,  ends,  is  shown  in  Fig.  34  («).  The  harness  draft 
with  the  pile  warp  drawn  on  the  first  two  harnesses  is  shown 


in  Fig.  34  (b) ,  while  in  view  (c)  the  corresponding  chain 
draft  is  shown.  It  should  be  noted  that  the  ground  ends  in 
Fig.  34  (a)  are  interlaced  with  the  picks  situated  between 
the  upper  and  lower  pile  loops  to  prevent  the  filling  from 


being  forced  out  with  the  loops  of  pile  warp.  This  will  be 
more  clearly  understood  by  referring  to  the  section  in  Fig.  35, 
which  illustrates  not  only  the  interlacings  of  the  pile  ends  in 
Fig.  34  (a),  but  also  of  the  ground  ends. 

21.  It  must  always  be  borne  in  mind  that  the  production 
of  terry  towels  requires  a  special  loom.  These  looms  often 
have  attachments  by  means  of  which  the  pile  can  be  pro¬ 
duced  as  desired,  since  there  is  in  some  towels  a  space  at 
each  end  devoid  of  pile.  Most  towel  looms  also  have  a 
fringing  motion,  so  that  no  filling  is  placed  in  the  warp  for 
a  space  of  about  6  inches  between  the  towels,  so  that  when 
the  towels  are  cut  apart  each  has  a  fringe  3  inches  in  length 
at  either  end. 


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□□□□□□HD 

□□□□□□□□ 

□□□□□□HD 

□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 
□□□□□□ED 
□□□SDEOH 
□□□□□□□□ 
□□□□□□□□ 
i  ihi  ini  ini  id 
□□□□□□□□ 
□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□^□□□HD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□BOB 

□□□□□□□□ 

□□□□□□BD 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□EDO 

□□□□□□□□ 


□□□□□□□□ 

□□PDDDBD 

□HDHDEDE 

□□□□□□□□ 

□□HDDDHD 

□□□□□HO 

□□□□□□□□ 

□□□□□□HD 


□HDEDED 

□□□□□□□□ 

□□□□□□PD 

□□□□□□□~ 

□□□□□□□□ 

□□□□□□ED 

□□□□□EDE 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□HD 

□□□□□□□I 

□□□□□□□□ 

□□□□□□HD 

□□□□□SO 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□0DEDBD 

□□□□□□□□ 

□□□□□□HD 

□□□HDED 

□□□□□□□□ 

□□SODDED 

□□□BDHD 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□0 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□SDH 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□manna 


□□□□□□□□ 

□□□□□□ED 

□BDHDHD 

□□□□□□□□ 

□□HDDDHD 

□□□□□□□□ 

□□□□□□ED 


□□□□□□□H 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□B 

□□□□□□□□ 

□□□□□□□□ 

□□□□□HO 

□□□□■□®D 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□SDDD 

□□□□□□□□ 

□□□□□HDD 

SO®nSO®D 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

»□□□□□□□ 

□□□□□□□□ 

□□□0D0DD 

BDBDHmD 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□EDEOEDE 

□□□□□□□□ 

□□BDDDED 

□HDHDEDE 

□□□□□□□□ 

□□□□□□ED 

□□□□□EDE 

□□□□□□□□ 


□□□□□□ED 

□□□□□HDD 

■□®nan®n 

□□□□□□PD 

□HOODED 

bdbdhdbd 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□HD 

□□□□□HDD 

nasaaasD 

□□□□□□□□ 

□ODDDHD0 

SDSnfflDBD 

□□□□□□ED 

□HDDDHDD 


□□□□□□□□ 

□□□□□□□□ 

0D®D3D®D 

□□□□□□□□ 

□□□□□□□□ 

SD®D0D®D 

□□□□□□ED 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

[!□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

gDHDBQDD 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□annmm 


□□□□□□□□ 

□EDHDED 

□□□□□□□□ 

□□□□□□□□ 

□HDHDED 

□□□□□□□□ 

□□□□□□□□ 

□BOHDHDH 


□□□□□□®D 

□□□□□□□□ 

□□□□□EDO 

□□□□aa®D 

□□□□□□ED 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□HD 

□□□HDEDO 

SDBDOOBD 

□□□□□□HD 

□□□□□□□□ 

aDBDHDBD 

□□□□□□□□ 


□□mama 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□ED 

□□□□□□□□ 

□□□□□□□a 

BD®aaD®D: 

□□□□□□□□ 


E3D®DnD0D 

□□□□□□□□ 

□□□□□□□□ 

C3D®DEJD®D 

□□□□□□□□ 

□□□□□ODD 

aaBDHDQD 

□□□□□□□□ 


»□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

aSDEDaDDD 

□□□□□□□□ 

□□□□□□□□ 

ESD0D0D®D 

□□□□□□□□ 


□□□□□□□□ 

□□□□□□□□ 

□□□HDED 

□□□□□□□□ 

□□□□□□□□ 

□HDBDSD 

»□□□□□□□ 

□□□□□□ED 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□□□□ 

□□□□BQSD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 


□□□□□HDD 

HDEDHDSn 

□□□□□□HD 

□□□□□□□□ 

aD0nan®D 

□□□□□□□□ 

□□□□□□□□ 

□□□□■□®n 


□□□□□□□□ 

aaaaama 

□□□□□□□□ 

□□□□□HDD 

□□BDHDDD 

□□□□□□□□ 

□EDBDBDn 

mdbdsdbd 


□□□□□□□a 

aa®DQD®n 

□□□□□□□□ 

□□□□□□□□ 

[^□□□an®n 

□□□□□□HD 

□□□□□□□h 

HD®DHD®D 


□□□□□EDI 

«D®niBma 

□□□□□□□□ 

□□□□□EDO 

BDBDBDOH 

□□□□□□ED 

□HDBDSDH 

■□®DBDOD 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□ran 

□ODEDEDH 

□□□□□□□□■ 

□□□□□□ED 

□□□SOHO 


□□□□□□□□ 

□BDEDEQH 

□□□□□□□□ 

□□□□□□HD 

□HDBDHDH 

□□□□□□□□ 

□□□□□□HD 

□□□□□ED! 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□no 

□EnEDBDE 

□□□□□□□□ 

□□□□□□ED 

□EDEDEDH 


□□□□□□□□ 

□EDEDEDB 

HDBDBD0D 

□□□□□□ran 

□HDsnranra 

□□□□BDBD 

□□□□□□□□ 

□EOEDHDH 


□□□□□□ED 

□HDHDHDH 

S8D®DBOBD 

□□□□□□HD 

HDBDBOm 

□□□□□□□□ 

□□□hdhdh 


□□□□□□□□ 
□EDODBDE 
»□□□□□□□ 
□□□□□□ED 
□HDHDHDS 
□□□□□□□□ 
□□□□□□ED! 
□EDI 


Fig.  36  (b) 


82 


PILE  WEAVES 


27 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  section  showing  the  interlacings  of  the  first  3  ends 
of  Fig.  24. 

2.  Make  a  velvet  weave  having  the  twill  for  a  ground  weave. 
Employ  the  alternate  system  of  raising  the  pile  warp. 

3.  Make  a  section  of  the  weave  in  Fig.  27  showing  the  interlacings 
of  the  third  and  sixth  ends. 

4.  Make  a  weave  for  a  warp-pile  fabric,  employing  the  -3  twill  as 
a  ground  weave  and  raising  the  entire  pile  warp  for  the  insertion 
of  the  wires. 

5.  Make  a  section  of  the  above  weave  showing  the  interlacing  of  the 
pile  warp. 

6.  Make  harness  and  chain  drafts  for  Fig.  28,  the  pile  warp  to 
be  drawn  on  the  front  harnesses. 


FIGURED  WARP-PILE  FABRICS 

22.  Figured  warp-pile  fabrics  are  constructed  in 
many  ways;  and  in  many  cases,  when  constructed  with 
elaborate  patterns  and  expensive  yarns,  rank  among  the 
most  costly  fabrics 
woven.  A  simple  method 
of  producing  a  figured 
warp-pile  fabric  is  to  pro¬ 
duce  a  figure  in  pile,  either 
cut  or  uncut,  according  to 
a  given  motive,  on  the  sur¬ 
face  of  an  ordinary  fabric. 

This  is  performed  in  a 
manner  similar  to  that 
employed  in  producing  a 
filling-pile  figure,  except 
that  the  warp-pile  con¬ 
struction  is  used  for  the 
figure  instead  of  the  fill¬ 
ing-pile.  In  Fig.  36  ( b )  is  shown  a  design  of  this  descrip¬ 
tion;  it  is  arranged  2  ends  of  ground  and  1  end  of  pile  in 
the  warp,  and  3  picks  of  ground  and  1  shed  for  inserting  the 
wire  in  the  filling.  The  pile  warp  is  depressed  under  both 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□BBBDD 

□□BBBBBD 

□BBBBBBB 

■BBBBBBH 

BDDDDCDD 

BSDCODm 

BBBnnom 

BBBHDDDD 

BBBBBBDD 

BBBBBBBD 

BBBBBHBB 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

■□□□□□□□ 

■■□□□□□□ 

■■■□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□BB 

□□□□□BBB 

□□□□BBBB 

□□□□BBBB 

□□□□□□BB 

□□□□□□BB 

□□□□BBBB 

□□□□BBBB 

□□□□BBBB 

□□□□□BBB 

□□□□□□BB 

□□■■■■■■ 

■■■■■■■a 

□■■■■■□□ 

□□BBBDnD 

BBBDDDDD 

BDDiionm 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

Fig.  36  (a) 


92—26 


28 


PILE  WEAVES 


§82 


the  ground  picks  and  the  wires,  except  where  it  is  desired  to 
have  the  figure  formed  in  pile;  in  order  to  show  the  design 
more  clearly,  the  ground  is  indicated  by  shaded  squares  and 
the  pile  by  solid  black  squares.  The  motive  for  this  design 
is  shown  in  Fig.  36  (a). 

The  ground  weave  used  may  be  considered  as  a  small  rib 
weave  or  as  a  plain  weave  with  2  picks  in  every  alternate 
shed.  The  pile  warp  is  raised  to  form  the  figure  in  the  same 
manner  as  in  Fig.  21,  and  since  the  ground  weave  is  also  the 
same,  the  construction  of  the  figure  is  really  a  true  velvet; 
the  ground  weave  only  appears  on  the  ground  of  the  design, 
the  pile  warp  floating  underneath  when  not  used  to  form  the 
figure.  This  waste  yarn  is  afterwards  cut  off  in  the  finishing 
of  the  fabric. 

23.  Tapestry  Carpets. — What  is  known  as  tapestry 
carpet  is  one  of  the  simplest  of  figured  warp-pile  fabrics. 
Its  construction  is  very  similar  to  an  ordinary  warp-pile 
fabric  with  the  exception  that  an  extra  warp  is  used  for 
thickening  and  strengthening  the  fabric.  The  loops  of  pile 
warp  are  uncut  and  the  entire  surface  of  the  fabric  is  uni¬ 
formly  covered  with  the  pile.  The  pattern  is  produced  by 
printing  the  design  on  the  pile  warp  so  that  it  will  be  formed 
by  the  pile  on  the  surface  of  the  cloth.  When  this  pattern 
is  printed,  due  consideration  must  be  given  to  the  take-up 
of  the  pile  warp,  according  to  the  length  of  the  pile  being 
formed.  If  this  item  is  known,  it  is  comparatively  easy  to 
print  a  certain  length  of  pile  warp  a  certain  color,  so  that 
the  pile  will  be  formed  of  that  color  for  a  certain  distance 
in  the  cloth,  and  then  change  to  another  color,  according  to 
the  pattern.  It  is  not  possible,  however,  to  gauge  the  length 
of  printed  yarn  with  exact  accuracy,  since  there  are  so  many 
disturbing  factors,  as  the  take-up,  length  of  pile,  etc.;  conse¬ 
quently,  there  is  a  certain  indefinite  or  misty  appearance  to 
the  pattern,  which  is  one  of  the  distinguishing  features  of 
a  tapestry  carpet. 

The  structure  of  the  cloth  itself  is  comparatively  simple, 
as  shown  in  Fig.  37,  which  is  a  design  for  an  ordinary 


82 


PILE  WEAVES 


29 


o  e  JJ  o  c  _4f 

o  fiS  o  u  £ 


tapestry  carpet.  This  weave  is  complete  on  4  ends  and 
6  picks.  The  ends  are  arranged  2  ground,  1  center  warp, 
and  1  pile  warp,  while  the  picks  are  arranged  2  ground  and 
1  shed  for  inserting  the  wire.  The  center  warp,  which  is 
simply  a  wadding  warp,  passes  between  -a  _  -o  _ 
the  ground  picks  and  does  not  interlace 
with  the  fabric;  this  is  accomplished  by 
depressing  every  other  ground  pick  under 
the  center  warp;  the  pile  warp  is  raised  on 
this  pick.  The  center  warp  has  the  same 
function  in  this  fabric  as  a  system  of  wad¬ 
ding  yarn  in  a  backed  or  double  cloth.  The  construction  of 
Fig.  37  will  be  understood  by  comparison  with  Fig.  38, 
which  shows  the  interlacings  of  several  repeats  of  the 
weave. 

The  designing  of  a  tapestry  carpet  is  a  comparatively 
simple  matter,  as  the  weave  has  nothing  to  do  with  the 
pattern.  These  goods  are  generally  made  27  inches  wide 
and  contain  216  pile  ends.  The  pattern  is  first  painted  out 


□  Wire 

□  ■SUSDBIx)®  I  G  , 

□  □□PDCDli  Wire 

■□aSBDEIS  \rround 


Fig.  37 


Fig.  38 


in  solid  color  on  a  sheet  of  design  paper  containing  216  ends, 
or  27  squares  with  8  ends  in  a  square,  and  then  printed  on 
the  pile  warp. 


24.  Brussels  Carpets. — The  structure  of  a  Brussels 
carpet  is  entirely  different  from  that  of  a  tapestry  carpet, 
and  in  its  production  the  designer  is  allowed  the  widest 
scope  of  taste  and  ingenuity,  while  the  patterns  that  are 
produced  are  brilliant  and  sharply  defined.  In  this  fabric, 
the  pattern  is  formed  by  lifting  solidly  colored  pile  threads 


30 


PILE  WEAVES 


§82 


to  form  pile  on  the  surface  of  the  fabric  as  required  to  make 
the  pattern,  each  pile-warp  end  remaining  in  the  interior 
of  the  fabric  when  the  pattern  does  not  call  for  its  color  on 
the  surface.  In  a  Brussels  carpet  the  ground,  or,  as  it  is 
sometimes  called,  the  binder  warp ,  is  woven  from  a  beam, 
but  the  pile  ends,  owing  to  the  difference  in  their  take-up 
because  of  their  varying  interlacings  with  the  wires,  are 
each  wound  on  separate  spools,  which  are  placed  in  frames. 
These  spools  are  arranged  so  that  friction  can  be  applied  to 
them  in  order  to  obtain  the  necessary  tension  of  the  pile  ends. 

The  terms  3-,  4-,  5-,  and  6-frame  carpets  refer  to  these  frames 
in  which  the  spools  of  pile  warp  are  placed  and  designate 
the  number  of  colors  in  the  pattern  of  the  carpet,  since 
generally  only  one  color  is  placed  in  each  frame.  The 
creels,  or  frames,  that  take  the  place  of  beams  also  denote 
the  number  of  pile  ends  in  the  fabric,  since  each  frame  is 
designed  to  hold  256  spools,  each  carrying  1  end  of  the 
pile  warp. 

The  complicated  interlacings  of  the  pile  ends  in  a  Brussels 
carpet  require  the  use  of  a  jacquard  to  produce  the  proper 
sheds.  The  reeding  of  the  fabric  is  controlled  by  the  colors 
or  frames  of  the  pile  warp;  thus,  if  a  3-frame  carpet  is  being 
made,  each  dent  will  contain  5  ends,  1  end  of  each  color  of 
pile  warp  and  2  ground  ends;  if  a  5-frame  carpet  is  being 
made,  each  dent  will  contain  5  pile  and  2  ground  ends. 

In  weaving,  a  row  of  loops  is  formed  across  the  cloth  at 
the  insertion  of  each  wire,  for  which  purpose  a  given  number 
of  pile  ends  are  raised  on  each  pick;  in  this  case  256  ends  are 
raised.  The  pile  threads  that  are  not  required  for  the  pattern 
are  disposed  in  the  body  of  the  cloth  as  wadding,  or  thicken¬ 
ing,  ends.  The  bulk  of  the  fabric,  therefore,  in  a  Brussels 
carpet  is  made  of  as  good  yarn  as  the  face  and  is  not 
obtained  by  an  extra  thickening  warp  of  cheaper  material, 
as  in  a  tapestry  carpet. 

The  ground  weave  that  is  used  for  these  fabrics  is  the 
4-harness  basket  S'  so  arranged  that  2  successive  picks 
are  placed  in  a  shed,  but  separated  by  the  pile  warp.  This 
will  be  understood,  as  will  also  the  statement  that  the  pile 


§82 


PILE  WEAVES 


31 


warp  lies  in  the  body  of  the  fabric  except  when  wanted  on 
the  face,  by  referring  to  Fig.  39,  which  is  a  section  of  a 
3-frame  Brussels  carpet  showing  the  2  ground,  or  binder- 


Fig.  39 


warp,  ends  and  the  3  differently  colored  pile-warp  ends. 
The  ground  picks  are  alternately  passed  over  and  under  the 
pile  ends,  so  as  to  bind  them  into  the  cloth. 


25.  The  method  of  producing  designs  for  Brussels  car¬ 
pets  is  quite  simple.  The  pattern  is  first  painted  in  solid 
color  on  design  paper,  3  colors  being  used  for  a  3-frame 
carpet,  4  for  a  4-frame,  etc.  The  design  is  then  made, 
being  dressed  2  ends  of  ground  and  3  ends  of  pile  for  a 
3-frame,  or  4  ends  of  pile  for  a  4-frame,  etc.,  and  being  picked 

2  picks  of  ground  and  1  shed  for  the  wire.  The  pile  warp 
is  raised  over  each  wire  according  to  the  pre¬ 
viously  prepared  and  painted  pattern.  To  illus¬ 
trate  the  method  of  making  the  weave  for  a 
carpet  of  this  description,  as  it  would  be 
impossible  to  give  a  large  flowered  design  here, 
let  it  be  supposed  that  Fig.  40  represents  a  small 
portion  of  a  large  pattern  for  a  3-frame  Brus¬ 
sels  carpet.  In  this  figure,  the  different  marks  represent 

3  colors  of  pile  warp  with  which  the  design  is  to  be  formed. 
As  a  3-frame  carpet  is  arranged  2  ground  and  3  pile, 
40  ends  will  be  taken  to  weave  the  color  effect,  and  as 
these  fabrics  are  picked  2  of  ground  and  1  shed  for  the 
wire,  24  sheds  will  be  required  to  form  the  pattern;  16 
sheds  are  for  the  insertion  of  the  ground  picks  and  8  sheds 
for  the  wires. 


32 


PILE  WEAVES 


82 


Fig.  41  shows  the  complete  weave  for  the  effect  shown  in 
Fig.  40  arranged  for  a  Brussels  carpet.  As  the  weave  is 
for  a  3-frame  carpet,  it  is  arranged  with  3  pile  ends  in  a 
section,  each  section  being  separated  by  2  ground,  or  binder- 
warp,  ends.  The  different  marks  on  the  pile  ends  denote 
the  different  colors,  corresponding  to  the  marks  in  Fig.  40. 
If  the  lifting  of  these  pile  ends  over  the  wires  is  carefully 
noted,  it  will  be  seen  how  the  design  in  Fig.  40  is  formed  in 


Wire 

Ground 

Wire 

Ground 

Wire 

Ground 

Wire 

Ground 

Wire 

Ground 

Wire 

Ground 

Wire 

Ground 

Wire 

Ground 


pile  in  Fig.  41.  For  instance,  suppose  that  the  shaded 
squares  in  Fig.  40  represent  black,  the  crosses  red,  and  the 
circles  green.  On  the  first  pick  of  Fig.  40  there  are  2  black, 
3  red,  and  3  green.  By  referring  to  Fig.  41  it  will  be  seen 
that  this  is  exactly  the  manner  in  which  the  pile  is  formed 
over  the  first  wire.  The  pile  is  lifted  over  the  second  wire 
according  to  the  second  pick  of  Fig.  40,  and  so  on. 

A  4-frame  carpet  is  designed  in  the  same  manner  as  a 
3-frame  carpet,  except  that  4  colors  and  4  pile  ends  are  used. 
In  a  3-frame  carpet  one-third  of  the  pile  warp  is  raised  over 
each  wire,  and  in  a  4-frame,  one-fourth  is  raised.  The  ends 
that  are  raised  may  be  of  any  color,  according  to  the  design. 


§82 


PILE  WEAVES 


33 


The  other  two-thirds  or  three-fourths  of  the  pile  ends,  as  the 
case  may  be,  lie  embedded  in  the  body  of  the  fabric,  as 
explained  in  connection  with  Fig.  39.  In  order  that  these 
ends  shall  pass  to  the  center  of  the  fabric  only  and  not  to 
the  back  it  will  be  noticed,  by  the  dot  marks,  that  all  the  pile 
ends  are  lifted  on  every  alternate  ground  pick,  thus  throwing 
1  ground  pick  on  the  back  of  the  cloth  to  cover  the  pile  warp. 

26.  What  are  known  as  Wilton  carpets  are  constructed 
in  practically  the  same  manner  as  a  Brussels  carpet,  except 
that  in  the  former  the  loops  of  pile  are  cut,  while  in  the 
latter  they  remain  uncut.  The  pile  warps  in  carpets  are  gen¬ 
erally  made  of  worsted. 


VARIETIES  OF  PILE  FABRICS 

27.  The  leading  features  that  produce  differences  in  pile 
fabrics  and,  consequently,  the  use  of  different  names  are  the 
material  or  materials  used  in  each  fabric — including  the 
material  used  for  the  ground  warp,  the  material  used  for 
the  ground  filling,  and  the  material  used  to  form  the  pile — 
the  length  of  the  pile,  and  the  appearance  of  the  back  of  the 
fabric,  in  addition  to  the  weave  used,  the  series  of  threads 
that  form  the  pile,  and  the  mechanisms  employed  for  forming 
and  cutting  the  pile.  Four  classifications  of  pile  fabrics  are 
commonly  made  from  the  appearance  of  the  pile  on  the 
fabric — fustian ,  velvet,  plush,  and  terry. 

28.  Fustian  is  a  general  term  that  has  long  been  used 
and  includes  all  the  heavier  filling-pile  fabrics  of  the  corduroy 
style,  also  embracing  velveteens.  Fustians  are  usually  under¬ 
stood  to  be  heavy  cotton  fabrics  with  a  short  pile,  and  besides 
the  regular  corduroys  and  velveteens  include  fabrics  of  a  simi¬ 
lar  nature  frequently  known  by  special  names,  such  as  round- 
top  cords,  constitutional  cords,  cable  cords,  thickset  cords,  etc. 

29.  Velvets  and  plushes  are  distinguished  by  the  relative 
length  of  the  pile;  the  weaves,  and  in  some  cases  the  mate¬ 
rials  used,  are  similar,  but  silk  fabrics  having  a  smooth  pile 
surface  with  a  pile  not  exceeding  inch  in  length  are  known 


34 


PILE  WEAVES 


§82 


as  velvets,  while  plush  fabrics  have  a  pile  exceeding  this 
length.  A  true  velvet  not  only  has  this  short  pile,  but  is 
composed  of  silk  alone  and  is  a  warp-pile  fabric.  Like  many 
other  words  applied  to  textile  fabrics,  the  term  velvet  has 
been  misapplied,  and  consequently  fabrics  with  a  silk  ground 
warp  and  cotton  ground  filling,  or  even  with  a  ground  of  both 
cotton  warp  and  filling,  or  linen  warp  and  filling,  etc.,  are 
sometimes  spoken  of  as  velvets.  For  this  reason  it  is  not 
sufficient  to  use  the  word  velvet  alone  when  describing  a 
fabric  manufactured  exclusively  of  silk,  but  the  term  silk 
velvet  should  be  used  and  only  applied  to  velvets  that  are 
entirely  manufactured  of  that  material.  When  the  ground  is 
composed  of  cotton  or  linen  it  should  be  spoken  of  as  a 
cotton-backed  velvet  or  a  linen-backed  velvet,  respectively. 

Plush  fabrics  are  manufactured  in  great  variety,  the  pile 
varying  in  length  but  in  general  being  of  greater  length  than 
in  velvets.  The  pile  yarn  of  a  plush  fabric  is  generally  silk, 
worsted,  mohair,  or  some  other  animal  fiber,  while  the  ground 
fabric  may  be  cotton,  linen,  or  jute,  which  is  used  not  only  to 
cheapen  the  fabric,  but  to  give  it  the  required  stiffness  and 
strength. 

Among  the  various  kinds  of  plush  may  be  mentioned  those 
intended  to  imitate  the  skins  of  animals — such  as  sealskin 
plush,  made  with  a  pile  surface  of  silk,  imitation  dogskin, 
made  with  a  curled  pile,  etc.  Mohair  plushes  are  woven  with 
a  cotton,  linen,  or  jute  ground  cloth,  while  the  pile  is  formed 
of  yarn  spun  from  mohair.  Silk  plushes  are  made  with  a  silk 
pile;  the  ground  cloth  is  usually  composed  of  cotton. 

30.  Uncut  warp-pile  fabrics,  whether  woven  with  wires 
or  not,  are  called  terry  fabrics.  Strictly  speaking,  the  term 
originated  with  the  warp-pile  fabrics  woven  with  a  wire,  but 
owing  to  their  similarity  certain  towel  fabrics  that  are  woven 
by  a  special  loom  without  wires  are  also  classified  as  terry. 
The  word  terry  is  not  applied  to  uncut  fabrics  of  the  filling- 
pile  class,  such  as  those  woven  on  the  fustian  principle  but 
used  without  being  cut;  these  are  simply  spoken  of  under 
the  trade  name  or  as  uncut  fustians. 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  1) 


PRINCIPLES  OF  COLORING 


THEORY  OF  COEOR 

1.  Many  theories  of  light  and  color  phenomena  have 
been  advanced  from  time  to  time  by  eminent  artists  and 
scientists,  but  while  many  of  these  seem  to  be  based  on 
fundamental  laws,  there  has  been  much  disagreement.  It 
may  be  safely  stated,  therefore,  that  at  the  present  time  there 
is  no  universally  accepted  theory  of  color  or  system  of  color 
nomenclature. 

2.  Eight. — The  great  majority  of  bodies  emit  no  light 
of  themselves  and  are  therefore  known  as  non-luminous 
bodies;  but  some,  as  for  instance  the  sun,  have  the  property 
of  emitting  light  and  are  therefore  known  as  luminous 
bodies.  Luminous  bodies,  as  the  sun,  or  a  gas  or  electric 
light,  etc.,  are  visible  because  of  their  own  luminosity,  but 
non-luminous  bodies  are  visible  only  because  of  the  property 
they  have  of  reflecting  the  light  that  falls  on  them  from  lumi¬ 
nous  bodies.  This  is  proved  by  the  fact  that  the  eye  is  unable 
to  see  non-luminous  bodies  at  night  or  any  other  time  when 
they  are  not  illuminated  by  natural  or  artificial  means. 

White  light,  which  is  considered  as  pure  light,  is  composed 
of  all  the  colors  found  naturally  or  made  artificially.  If  a 


Copyrighted  by  International  Textbook  Company.  Entered  at  Stationers'  Hall ,  London 

£83 


2 


COLOR  IN  TEXTILE  DESIGNING 


§83 


beam  of  white  light  is  allowed  to  pass  through  a  glass  prism, 
the  light  is  decomposed,  or  separated,  into  colors.  If  these 
colors  are  allowed  to  fall  on  a  screen  in  a  room  that  has  been 
darkened,  a  beautiful  band  of  color  will  be  produced.  This 
band  of  color  is  known  as  the  solar  spectrum  and  contains 
every  gradation  of  pure  color,  but  for  convenience  the  fol¬ 
lowing  division  is  usually  made,  the  colors  being  given  in 
the  order  in  which  they  are  arranged:  violet,  indigo,  blue, 
green,  yellow,  orange,  and  red. 


Fig.  1 


A  simple  arrangement  for  the  dispersion  of  white  light 
into  its  component  parts  is  shown  in  Fig.  1.  A  beam  of 
white  light  is  admitted  into  a  darkened  room  through  a  hole  in 
a  shutter,  and  passing  through  a  glass  prism,  is  decomposed 
so  that  a  spectrum  is  thrown  on  a  screen.  The  positions  of 
the  various  colors  of  the  spectrum  are  indicated  on  this 
screen,  in  Fig.  1,  by  their  initial  letters.  The  decomposition 
of  the  white  light  is  due  to  the  refractive  power  of  the  prism. 
As  some  colors  are  refracted  to  a  greater  degree  than  others. 


83 


COLOR  IN  TEXTILE  DESIGNING 


3 


the  light  is  divided  into  its  component  colors,  each  of  which 
assumes  its  proper  relative  position  in  the  spectrum.  It 
will  be  noticed  that  the  red  light  is  refracted,  or  bent,  from 
its  true  course  the  least,  and  the  violet  the  most. 

The  seven  spectrum  colors  are  known  as  the  prismatic , 
or  primary ,  colors.  Sometimes  the  spectrum  is  so  divided 
as  to  make  only  six  primary  colors,  the  indigo  being  left  out, 
as  it  is  considered  by  some  to  be  only  a  gradation  of  the 
blue.  Red,  yellow,  and  blue  are  sometimes  considered  as 
the  primary  spectrum  colors,  and  orange,  green,  and  violet  as 
secondary  spectrum  colors. 

The  pigment  theory  of  color  is  the  one  that  is  made  use 
of  industrially;  it  is  based  on  the  assumption  that  there  are 
three  primary  colors — red,  yellow,  and  blue — that  are  inde¬ 
pendent  and  separate  pigments,  differing  widely  from  each 
other.  These  pigments  are  made  as  nearly  like  the  spectrum 
colors  as  possible,  but  it  is  impossible  to  manufacture  a  pig¬ 
ment  that  will  exactly  match  a  spectrum  color.  With  these 
three  pigments  and  the  passive  colors  black  and  white,  any 
color,  hue,  shade,  or  tint  may  be  produced  by  proper 
admixture. 


CLASSIFICATION  OF  COLORS 

3.  Definitions. — All  colors  are  divisible  into  two 
classes;  namely,  simple ,  or  primary,  colors  and  compound 
colors. 

Simple  colors  are  those  that  cannot  be  split  up  into 
other  colors;  in  other  words,  they  are  fundamental  colors, 
the  term  being  practically  synonymous  with  primary  colors, 
and  in  the  pigment  theory  includes  red,  yellow,  and  blue. 

Compound  colors  are  those  that  are  obtained  by  mixmg 
two  colors  together.  There  are  two  important  classes  of 
compound  colors;  namely,  secondary  and  tertiary  colors. 

The  secondary  colors  are  produced  by  mixing  primary 
colors,  and  consist  of  orange,  green,  and  purple.  Orange  is 
obtained  by  mixing  red  and  yellow.  Green  is  obtained  by 
mixing  yellow  and  blue.  Purple  is  obtained  by  mixing  blue 
and  red. 


4 


COLOR  IN  TEXTILE  DESIGNING 


83 


The  tertiary  colors  are  russet,  citrine  (or  citron),  and 
olive,  and  are  each  composed  of  two  secondary  colors. 
Russet  is  obtained  by  mixing  orange  and  purple.  Citrine  is 
obtained  by  mixing  orange  and  green.  Olive  is  obtained  by 
mixing  green  and  purple. 

Note.— This  color  theory  is  not  absolutely  satisfactory  to  many 
color  experts,  but  is  the  one  most  generally  accepted  from  an  indus¬ 
trial  point  of  view. 

A  pure,  or  full,  color  may  be  said  to  be  an  unadul¬ 
terated  color;  that  is,  the  most  intense  expression  of  a 
color  without  any  addition  of  black  or  white. 

A  broken  color  is  one  produced  by  the  mixture  of  two 
or  more  pure  colors. 

While  black  and  white  are  not  really  colors,  yet  since  they 
are  used  in  producing  shades  and  tints  of  colors,  they  are 
often  spoken  of  as  colors.  The  term  passive  colors  has 
therefore  been  suggested  for  these  two  colors,  together  with 
silver,  gold,  and  very  gray  colors,  but  this  term  is  very 
indefinite,  as  is  also  the  term  neutral  colors,  which  is  some¬ 
times  used. 

A  shade  is  a  pure  color  mixed  with  black. 

A  tint  is  a  pure  color  mixed  with  white. 

The  tone  of  a  ^olor  is  an  expression  that,  in  the  strict 
consideration  of  color,  is  confined  to  the  shades  and  tints  of 
a  full  color.  The  pure,  or  full,  color  is  known  as  the  normal 
tone  of  that  color.  Tone  is  sometimes  considered  as  refer¬ 
ring  to  the  combined  effect  of  several  colors  placed  in  juxta¬ 
position,  or  to  the  general  effect  of  a  single  color.  In  either 
case  reference  may  be  had  to  the  prevailing  tone,  or  to  such 
qualities  as  luminosity,  purity,  warmth,  shade,  tint,  etc.  For 
instance,  it  may  be  said  of  one  color  combination  that  its 
tone  is  cold,  of  another  that  it  is  warm,  etc.  Or,  a  single 
color  may  be  spoken  of  as  being  a  deep  tone  of  green,  a 
warm  tone  of  red,  a  bright  tone  of  orange,  etc. 

The  hue  of  a  color  may  be  said  to  be  that  color  mixed 
with  a  small  amount  of  another  color;  thus,  an  orange  hue 
of  red  is  made  by  adding  a  small  amount  of  orange  to  a  pure 
red.  The  term  hue  is  sometimes  used  to  refer  to  that  quality 


83 


COLOR  IN  TEXTILE  DESIGNING 


5 


which  distinguishes  one  color  from  another,  be  they  primary 
or  compound.  For  instance,  red  differs  in  hue  from  green, 
yellow  from  orange,  etc. 

Red,  orange,  and  yellow,  and  combinations  in  which  they 
predominate,  are  known  as  warm  colors  because  of  their 
great  luminosity. 

The  term  cool  colors  is  somewhat  indefinite,  but  is  gen¬ 
erally  considered  to  include  green,  blue,  and  violet,  and  color 
combinations  in  which  they  predominate. 

Theoretically,  the  complement  of  a  color  is  a  color  that, 
when  mixed  with  it  in  equal  proportions,  will  produce  white. 
While  this  is  possible  to  accomplish  with  spectrum  colors  by 
means  of  mirrors  and  lenses,  it  is  impossible  with  pigments, 
owing  to  the  imperfection  of  the  colors.  As  white  light  is 
the  sum  of  all  colors,  if  any  color  is  taken  from  it,  the  remain¬ 
ing  color  is  the  complement  of  that  color.  An  interesting 
experiment  in  this  connection  may  be  performed  by  gazing 
intently  at  a  red  spot  on  a  white  surface  for  two  or  three 
minutes  or  until  the  eye  becomes  fatigued.  If  the  eye  is 
now  turned  from  the  red  spot  toward  a  white  surface,  a  faint 
tint  of  bluish  green  is  seen.  This  is  called  the  accidental 
color  of  red,  and  is  practically  the  same  thing  as  its  comple¬ 
mentary  color. 

There  are  many  pairs  of  complementary  colors,  but  the 
simplest  ones,  which  are  most  frequently  met  with,  are  as 
follows:  The  complementary  color  of  red  is  a  bluish  green; 
of  yellow,  ultramarine  blue;  of  violet,  greenish  yellow;  of 
orange,  deep  blue;  of  green,  reddish  violet. 

4.  Color  Sensation. — As  already  explained,  pure  light, 
as  it  comes  from  the  sun,  is  white.  A  colored  light  is  a  light 
that  is  incomplete,  that  is  to  say,  it  is  lacking  in  one  or  more 
of  the  colors  that  constitute  white  light.  It  may  therefore 
be  said  that  colored  light  is  the  result  of  subtraction.  For 
instance,  if  we  perceive  a  red  light,  it  is  to  be  supposed  that 
the  other  principal  colors  (blue  and  yellow)  that,  combined 
with  red,  produce  white  light,  have  been  removed  from  the 
white  light  and  that  red  is  all  that  remains.  Similarly,  if  a 


6 


COLOR  IN  TEXTILE  DESIGNING  .  §83 


green  light  is  visible,  we  may  conclude  that  red  light  from 
some  cause  has  been  withheld.  In  other  words,  whatever 
color  is  visible  is  a  result  of  its  complementary  color  being 
subtracted  from  pure  white  light. 

It  should  be  remembered  that  color  does  not  exist  in  and 
by  itself,  but  is  simply  a  matter  of  sensation,  that  is,  an 
impression  produced  on  the  optic  nerves  of  the  eye.  If, 
therefore,  the  eye  is  not  affected  by  any  light  it  cannot 
perceive  any  color. 

An  object  painted  white  is  not  in  itself  really  white,  but 
appears  so  because  the  paint  with  which  it  is  covered  has  the 
property  of  reflecting  nearly  all  the  light  it  has  received  from 
the  sun.  Whatever  quantity  of  light  that  has  not  been 
reflected  is  absorbed  by  its  surface.  An  object  painted  black 
appears  black  because  nearly  all  the  light  it  receives  is 
absorbed  by  it.  For  that  reason  it  is  unable  to  send  any,  or 
but  little,  light  to  the  eye,  and  the  latter  cannot  be  affected 
by  it,  or  only  to  a  very  small  extent. 

It  is  not  to  be  supposed  that  color  is  a  quality  that  a  sub¬ 
stance  retains  under  all  conditions  and  that  is  inseparable 
from  it.  If  such  should  be  the  case,  an  object,  for  instance, 
painted  green,  should  always  remain  green,  even  when  in  the 
dark  or  when  exposed  to  other  than  white  light.  We  have 
seen  that  it  can  appear  green  only  when  green  is  contained  in 
the  light  to  which  it  is  exposed.  The  paint  with  which  it  is 
covered  serves  simply  the  purpose  of  absorbing  all  but  the 
green  rays,  which  are  reflected.  This  can  easily  be  proved 
if  we  expose  it  to  a  very  strong  light  from  which  the  green 
rays  have  been  removed,  as  for  instance,  by  letting  the  light 
pass  through  a  red  glass.  In  this  case  the  object  will  be 
unable  to  send  out  green  rays  because  none  have  been 
received,  and  it  will  therefore  appear  black. 

It  is  a  familiar  fact  that  it  is  impossible  to  judge  the  true 
values  of  colors  when  seen  with  artificial  light.  The  reason 
for  this  is  the  same  as  that  just  given.  They  are  exposed  to 
light  that  is  lacking  in  certain  rays,  and  the  objects  are  there¬ 
fore  unable  to  reflect  all  the  colors  that  would  be  reflected 
under  normal  conditions.  With  ordinary  gas  light,  greens 


§83 


COLOR  IN  TEXTILE  DESIGNING 


7 


may  appear  blue,  and  under  a  Welsbach  burner  reddish  tints 
may  lose  their  red,  because  this  light  is  deficient  in  red  rays. 


5.  Harmony. — Two  colors  may  be  said  to  harmonize 
when  they  produce  a  pleasing  effect  in  juxtaposition  or  are 


Color  Pairs 

Modification  by  Contrast 

f  Red . 

Inclines  to  violet 

[Orange . . 

Inclines  to  yellow 

|  Red  .  .  .  .  . . 

Inclines  to  violet 

[Yellow . 

Inclines  to  greenish  yellow 

|  Red . . 

Becomes  more  brilliant 

[Green . 

Becomes  more  brilliant 

f  Red . . 

Inclines  to  orange 

[Blue  ........... 

Inclines  to  green 

f  Red . . . 

Inclines  to  orange 

[Violet  ........... 

Inclines  to  blue 

f  Orange . ....*. 

Inclines  to  red  orange 

[Yellow  . . . 

Inclines  to  greenish  yellow 

|  Orange . 

Inclines  to  red  orange 

[Green . . 

Inclines  to  bluish  green 

f  Orange  .  . . 

Inclines  to  yellow 

[Violet  . . 

Inclines  to  blue 

f  Yellow  .......... 

Inclines  to  orange 

[Green . 

Inclines  to  blue 

|  Yellow . 

Becomes  more  brilliant 

[Blue . 

Becomes  more  brilliant 

f  Green  . . 

Inclines  to  yellow 

[Blue  . . 

Inclines  to  violet 

[Blue  . . 

Inclines  to  green 

[Violet . 

Inclines  to  red 

[Greenish  yellow . 

Becomes  more  brilliant 

[Violet . 

Becomes  more  brilliant 

used  together  in  suitable  proportions  in  a  design.  Colors 
that  do  not  harmonize  when  associated  together  produce 
effects  that  are  displeasing  to  the  eye. 


8 


COLOR  IN  TEXTILE  DESIGNING 


§83 


6.  Contrast. — If  two  colors  are  placed  side  by  side  or 
associated  in  a  design,  the  eye  will  no  longer  see  the  same 
tone  of  either  color,  because  each  becomes  modified  by  its 
adjacent  color.  The  effect  of  contrast  is  one  of  utmost 
importance  to  textile  designing,  since  the  designer  should 
know  what  effect  will  be  produced  when  two  colors  are 
placed  together  in  a  fabric.  For  instance,  if  red  and  blue 
are  used  in  the  fabric,  the  red  will  appear  to  be  an  orange  red 
and  the  blue  a  green  blue,  the  true  tone  of  each  color  being 
modified  by  contrast  with  the  other. 

7.  The  preceding  table,  prepared  by  a  well-known  color 
expert,  shows  the  modifications  of  various  colors  when  com¬ 
bined  with  another  color.  From  this  table,  it  will  be  seen  that, 
in  general,  if  two  colors  are  placed  together,  each  appears 
to  be  tinged  with  the  complementary  color  of  the  other. 


ATTRIBUTES  OF  COLORS 

8.  For  want  of  a  better  word,  the  term  attributes  of  a 
color  is  applied  to  certain  distinctive  qualities  and  properties 
of  each  color  that  govern  its  appropriateness  for  certain 
purposes. 

9.  Red. -—Red,  orange,  and  yellow  have  been  classified 
as  warm  colors,  and  of  the  three  it  may  be  said  that  red  is 
the  most  aggressive.  Red  is  a  very  useful  color  to  the  textile 
designer,  but,  owing  to  its  strength,  must  be  applied  with 
care  to  conventional  fabrics  where  quiet,  subdued  effects  are 
desired.  Care  must  be  taken  in  applying  not  only  red  but  any 
primary  color  in  its  full  strength,  on  account  of  the  vivid  effects 
obtained  from  the  use  of  unadulterated  colors.  Primary 
colors  are  therefore  but  little  used  in  textile  fabrics,  espe¬ 
cially  in  men’s  wear  and  other  fabrics  where  quiet  effects  are 
desired.  Red,  when  used  with  care,  imparts  a  bright,  clean 
appearance  to  a  fabric.  It  is  used  largely  in  printed  fabrics 
and  to  some  extent  in  piece-dyed  goods  for  women  and 
children’s  wear.  As  a  color  for  forming  spots  on  men’s 
vestings  and  also  on  dress  goods,  red  is  largely  used;  but  in 


83 


COLOR  IN  TEXTILE  DESIGNING 


9 


conventional  men’s  wear  it  is  not  often  applied  except  as  a 
donble-and-twist  yarn,  being  usually  twisted  with  a  black 
thread.  The  darker  shades  of  red  are  sometimes  used  as 
the  ground  of  fabrics,  but  excellent  results  are  difficult  to 
obtain  except  in  carpets  and  oriental  effects.  Tints  of  red 
are  quite  extensively  applied  in  connection  with  vestings, 
silk  neckties,  ribbons,  dress  fabrics,  buntings,  etc.  In  the 
ordinary  run  of  woolen  and  worsted  fabrics,  however,  especi¬ 
ally  in  the  men’s-wear  trade,  red  or  its  derivatives  are  but 
sparingly  employed. 

In  using  red  in  combination  with  other  colors,  great  care 
should  be  taken  not  to  destroy  the  harmony  of  the  design  by 
using  too  much  red  or  a  tone  that  is  too  strong  and  brilliant. 
Very  pure  and  warm  tones  of  red  are  better  employed  in 
piece-dyed  goods  than  in  combination  with  other  colors, 
although  brilliant  reds  do  not  produce  bad  effects  with  the 
passive  colors  black  and  white,  if  used  in  suitable  proportion. 

10.  Yellow. — This  is  a  very  vivid  and  bright  color, 
although  it  does  not  possess  the  strength  and  warmth  of  red. 
Yellow  may  be  said  to  be  the  most  luminous  color  and  has  a 
great  tendency  to  produce  lustrous  effects.  The  vivid  bril¬ 
liance  of  this  color  necessarily  limits  its  application  to  textile 
fabrics,  although  it  is  a  useful  color  for  fancy  threads  and  for 
overchecks  in  complicated  plaid  patterns.  It  also  finds  a 
limited  use  in  oriental  fabrics  and  their  imitations,  carpets, 
ginghams,  and  to  some  extent  in  woolen  blankets.  Care 
must  be  taken  when  using  yellow  in  textile  fabrics  to  limit 
the  quantity  used.  It  is  rare  that  a  large  quantity  of  this 
color  will  produce  harmonious  results,  yet  if  used  in  small 
quantities  it  is  useful  in  brightening  the  fabric,  especially  in 
plaid  designs,  in  which  it  is  principally  used  in  the  ordinary 
run  of  designing.  It  is  seldom  that  yellow  or  any  tone  of 
yellow  is  used  for  piece-dyed  goods,  but  this  is  occasionally 
met  with  in  silk  fabrics. 

11.  Orange. — This  color,  like  red,  is  vivid  and  strong, 
and  is  second  only  to  red  in  warmth  and  strength.  The  use 
of  orange  for  the  great  majority  of  textile  fabrics  is  limited; 


92—27 


10 


COLOR  IN  TEXTILE  DESIGNING 


§83 


it  may  be  used,  however,  in  a  manner  similar  to  yellow,  and 
is  also  a  very  useful  color  for  fancy  twist  yarns,  being  often 
twisted  with  black  or  white  yarns.  Orange  is  very  similar 
to  both  red  arid  yellow,  and  is  a  very  lustrous  color,  although 
not  to  such  an  extent  as  yellow.  The  luminosity  and  vivid 
character  of  orange  makes  it  retain  its  individuality  when 
used  in  combination  with  almost  any  color,  and  it  is  but 
little  affected  in  tone  by  either  light  or  dark  grounds. 

12.  Blue. — Blue,  being  a  primary  color,  is  strong  and 
distinctive,  but  unlike  red,  which  is  warm  and  aggressive, 
blue  is  cold  and  retiring,  and  for  this  reason  is  of  value  in 
producing  quiet  effects,  which  are  still  strong  and  pro¬ 
nounced.  Blue  is  one  of  the  most  useful  colors  in  textile 
fabrics  and  has  always  been  highly  esteemed.  The  ancients 
were  particularly  fond  of  this  color,  and  robes  of  blue  and 
purple  were  symbols  of  the  highest  rank.  Pure  blue  has  a 
certain  aspect  of  freshness  that  is  readily  imparted  to  fabrics 
into  which  it  is  introduced.  This  quality  is  sometimes  called 
the  bloom ,  a  term  that  is  only  used  in  this  connection  to  indi¬ 
cate  freshness  and  force  of  coloring.  Dark  shades  of  blue 
are  largely  used  for  the  ground  of  fabrics  and  also  in  piece- 
dyed  goods,  while  the  fighter  shades  are  useful  for  figures  and 
spots,  as  well  as  for  light-colored  silk  fabrics,  ginghams,  plaids, 
and  many  other  dress-goods  fabrics.  Its  property  of  cold¬ 
ness  makes  blue  a  useful  color  for  subduing  fabrics  that 
would  otherwise  be  too  brilliant  and  for  those  fabrics  where 
inconspicuous  effects  are  desired.  Blue,  although  not  used 
to  any  great  extent  for  fancy  threads  in  men’s-wear  fabrics, 
is  largely  used  for  piece-dyed  suitings.  For  ladies’  dress 
goods,  blue  is  a  color  that  may  be  used  in  a  variety  of  ways. 

13.  Green. — This  color  is  of  a  retiring  and  inconspic¬ 
uous  nature,  its  principal  characteristic  being  an  appearance 
of  freshness  that  is  readily  imparted  to  fabrics  to  which 
it  is  applied.  Green  is  a  very  restful  color  to  the  eye,  and 
is  the  most  common  color  found  in  nature.  According  to 
the  spectrum  theory  green  is  a  primary  color,  but  accord¬ 
ing  to  the  pigment  theory  it  is  a  secondary  color,  being 


83 


COLOR  IN  TEXTILE  DESIGNING 


11 


composed  of  the  primary  colors  blue  and  yellow.  For  this 
reason  green  is  an  easier  color  with  which  to  produce  har¬ 
monious  effects  than  the  primary  colors,  since  the  more 
broken  a  color  is  the  easier  it  usually  is  to  make  it  combine 
with  other  colors  with  good  effect.  Many  of  the  shades, 
tints,  and  hues  of  green  are  very  useful  in  textile  designing; 
among  those  most  commonly  used  may  be  mentioned  olive 
green,  slate  green,  pea  green,  and  dark  green.  The  greens 
form  excellent  combinations  with  the  shades  and  tints  of 
red,  when  used  in  proper  quantities,  and  also  with  black 
and  white.  Green  is  largely  used  for  suitings,  dress  goods, 
shawls,  broadcloths,  billiard  cloths,  carriage  cloths,  etc.,  and 
is  also  employed  as  a  fancy  thread  in  men’s  wear,  suitings, 
and  trouserings.  - 

14.  Purple. — This  color  is  not  largely  employed  for 
textile  fabrics  at  the  present  day,  but  in  ancient  times  was  the 
royal  color  and  the  most  highly  esteemed.  The  character¬ 
istics  of  purple  are  its  richness  of  tone,  bloom,  and  softness. 
This  color  finds  a  limited  use  in  silk  fabrics,  furniture  cloths, 
and  draperies,  but  otherwise  it  is  of  very  little  importance  at 
the  present  time. 

15.  Russet,  Citrine,  and  Olive. — The  tertiary  colors, 
being  still  more  broken,  are  more  easily  combined  with  har¬ 
monious  results  than  either  the  primary  or  secondary  colors, 
and,  since  they  are  quiet  and  subdued,  they  are  the  most  use¬ 
ful  colors  in  the  ordinary  run  of  designing,  being  especially 
adapted  to  men’s  wear. 

16.  It  must  be  remembered  that  there  are  hundreds  of 
shades,  tints,  and  hues  of  either  primary,  secondary,  or  ter¬ 
tiary  colors,  and  that  the  best  combinations  for  quiet  effects 
are  obtained  from  such  broken  or  modified  colors.  The  pure, 
or  full,  colors  rarely  produce  pleasing  effects  when  used  in 
combination. 


12 


COLOR  IN  TEXTILE  DESIGNING 


§83 


FACTORS  MODIFYING  THE  COLORING  OF 
TEXTILE  FABRICS 

17.  There  are  many  factors  that  will  modify  the  appear¬ 
ance  of  a  color  when  applied  to  a  fabric,  but  the  principal 
ones  maybe  said  to  be:  (<2)  The  nature  of  the  raw  material 
from  which  the  fabric  is  constructed;  ( b )  the  structure  of 
the  yarn;  (c)  the  build  of  the  fabric;  and  (d)  the  finish  of 
the  cloth. 

18.  Dealing  first  with  the  raw  material,  it  may  be 
said  that  the  difference  in  the  structure  of  the  fiber  largely 
affects  and,  in  fact,  is  the  basis  of  the  difference  in  the  tones 
of  color  in  textile  fabrics  of  different  materials. 

With  wool  it  is  possible  to  obtain  not' only  full,  dull  tones, 
but  also  bright  and  lustrous  effects,  depending  on  whether 
the  yarn  is  woolen  or  worsted.  With  short  wool  fibers  hav¬ 
ing  a  large  number  of  serrations  and  being  crimped  and 
curled  to  a  great  extent,  the  resultant  tones  are  deep,  full, 
and  somewhat  dull.  With  the  longer  wool  fibers,  which  have 
fewer  serrations  and,  consequently,  smoother  surfaces,  the 
reflecting  power  of  the  fiber  is  much  greater  and  the  colors 
obtained  are  therefore  bright  and  lustrous. 

Cotton  is  a  fiber  that  is  not  so  easily  colored  as  wool, 
having  less  affinity  for  most  dyestuffs.  In  general,  the 
colors  obtained  on  cotton  are  dull  and  have  a  flat,  dead 
appearance,  with  the  exception  of  mercerized  cotton,  which 
has  a  luster  almost  equal  to  silk. 

Flax  is  a  straight,  compact,  semitransparent  fiber,  on 
which  colors  appear  bright  and  full,  but  not  so  lustrous  as 
on  silk  or  mercerized  cotton. 

Silk  is  a  smooth,  glass-like  fiber  on  which  color  appears 
bright  and  true  and  with  an  incomparable  luster. 

19.  The  structure  of  the  yarn  is  also  an  important 
factor  in  modifying  the  color  effect  of  a  fabric.  A  good 
example  of  this  may  be  observed  by  comparing  a  woolen 
and  a  worsted  yarn  dyed  in  the  same  bath.  The  worsted 
yarn  cannot  fail  to  appear  brighter  in  color  than  the  woolen 


§83 


COLOR  IN  TEXTILE  DESIGNING 


13 


yarn,  because  of  the  yarn  structure.  In  the  worsted  yarn,  the 
fibers  are  all  laid  parallel  to  the  direction  of  the  thread;  thus, 
the  sides  of  the  fibers  are  exposed  to  the  light,  and,  by  reflec¬ 
tion,  heighten  the  lustrous  effect  and  brighten  the  color.  In 
the  woolen  yarn,  the  fibers  are  laid  in  all  directions,  and, 
projecting  from  the  bulk  of  the  thread,  give  it  a  fuzzy  appear¬ 
ance.  The  effect  of  this  is  to  partly  absorb  the  light  instead 
of  reflecting  it,  thus  giving  the  yarn  a  duller  and  deeper  color. 

The  amount  of  twist  in  a  thread  also  affects  its  color, 
slack-twisted  yarns  appearing  brighter  than  hard-twisted 
yarns  dyed  the  same  color. 

20.  The  effect-of  the  build  of  the  fabric  in  modifying 
the  tone  of  the  color  is  also  apparent  to  an  experienced 
designer.  The  more  intersections  of  warp  and  filling  there 
are  in  a  fabric,  the  greater  the  tendency  will  be  for  the  pro¬ 
duction  of  full  but  dull  colors;  and  vice  versa,  the  longer  the 
floats  of  warp  or  filling,  or  both,  the  brighter  the  color  and 
the  more  lustrous  the  fabric.  That  this  is  true  may  be  readily 
seen  by  comparing  a  fabric  woven  with  the  plain  weave  and 
a  similar  cloth  woven  with  a  satin  weave. 

Another  good  illustration  of  how  the  build  of  a  fabric  affects 
the  colors  may  be  obtained  by  comparing  a  Brussels  carpet, 
in  which  the  pile  is  uncut,  with  a  Wilton,  or  velvet,  carpet,  in 
which  the  pile  is  cut.  In  the  latter  the  color  always  appears 
duller  and  more  softly  toned  and  possesses  fulness  and  depth, 
while  in  the  former  the  colors  appear  brighter  and  more  pro¬ 
nounced,  although  the  yarn  may  be  dyed  exactly  the  same. 
This  is  due,  of  course,  to  the  one  reflecting  the  light  from 
the  sides  of  the  uncut  pile,  while  the  other,  having  the  pile 
cut,  absorbs  the  light  to  a  great  extent.  That  the  colors  are 
not  dull  in  a  cut-pile  carpet  may  be  readily  seen  by  bending 
the  pile  over  so  that  the  light  will  fall  on  the  sides  of  the 
pile  instead  of  on  the  cut  ends.  Figured  pile  fabrics  are 
sometimes  made  by  utilizing  this  principle  and  combining  cut 
and  uncut  pile  according  to  the  figure  desired. 

21.  The  character  of  the  finishing1  process  also  has 
much  to  do  with  the  appearance  of  the  colors  in  a  fabric, 


14 


COLOR  IN  TEXTILE  DESIGNING 


§83 


and  they  may  be  made  to  appear  bright  and  lustrous  or  dull 
and  full  according  to  the  finish  and  the  nature  of  the  fabric. 
Many  woolen  fabrics  are  steamed,  which,  combined  with  the 
brushing  and  other  processes  through  which  they  go,  gives 
them  great  luster.  Those  fabrics  that  are  sheared  and  singed 
close  show  the  colors  bright  and  true,  while  those  having  a 
short,  thick  nap  show  duller  and  fuller  tones  of  color.  Cloths 
with  long  and  sparsely  raised  naps  that  are  brushed  and  laid 
flat  are  very  lustrous.  _ 


METHODS  OF  APPLYING  COLOR  TO  TEXTILES 

22.  Color  is  applied  to  textiles  in  several  ways,  the 
method  of  application  and  the  character  of  the  design  depend¬ 
ing  largely  on  the  class  of  fabric  desired  and  whether  it  is 
to  be  made  of  cotton,  woolen,  worsted,  or  silk  yarns.  Piece- 
dyed  fabrics  are  woven  white  and  then  dyed  a  solid  color;  or 
a  fabric  all  one  color  may  be  made  by  dyeing  either  the  raw 
stock  or  the  yarn.  Mixture  yarns  and  fabrics  are  made 
in  woolen  and  other  goods  by  mixing  raw  materials  of 
different  colors.  In  woven  fancy  patterns,  the  fabric  is 
colored  and  the  pattern  formed  in  the  majority  of  cases  by 
the  use  of  colored  yarns  in  the  warp  or  filling,  or  in  both 
warp  and  filling,  in  combination  with  a  definite  method  of 
interlacing  the  warp  and  filling.  Printed  goods  are  those 
to  which  the  color  is  applied  by  a  stamping  or  printing 
process.  Usually  the  pattern  is  engraved  on  a  series  of 
copper  rolls  that  are  afterwards  placed  in  a  machine  that 
prints  the  desired  colors  on  the  cloth. 


COLOR  EFFECTS 

23.  Definition. — Distinction  is  made  between  a  weave 
effect  and  a  color  effect.  The  effect  produced  by  the  inter¬ 
lacing  of  warp  and  filling,  when  both  are  of  the  same  color, 
or  the  warp  one  color  and  the  filling  another,  is  said  to  be  a 
weave  effect.  If,  on  the  other  hand,  either  the  warp  or  the 
filling,  or  both,  consists  of  an  arrangement,  or  pattern,  of 
colored  yarns,  the  effect  produced  by  their  interlacing  is 


§83 


COLOR  IN  TEXTILE  DESIGNING 


15 


termed  a  color  effect.  It  may  therefore  be  stated  that  a 
weave  effect  is  the  effect  of  the  interlacing  of  the  warp  and 
filling  alone,  whereas  a  color  effect  is  the  effect  of  colored 
yarns  combined  with  a  suitable  weave. 

In  a  color  effect,  the  weave  is  lost  and  is  hardly  noticeable 
in  the  pattern  or  design.  This  is,  of  course,  due  to  the 
weave  effect  being  broken  up  by  the  colors  used  in  the  com¬ 
position  of  the  pattern.  Color  effects  are  often — in  fact, 
generally — produced  with  very  simple  weaves  and  with  warp 
and  filling  patterns  with  few  ends  and  picks  in  a  repeat. 
Figures  and  effects  may  thus  be  produced  that,  although 
small,  may  be  combined  with  other  small  but  different  figures 
or  effects  to  produce  large  and  effective  stripes  and  checks. 

24.  Method,  of  Making  Color  Effects. — It  often  hap¬ 
pens  that  the  designer,  when  making  a  design,  desires  to 
ascertain  what  the  exact  effect  of  a  certain  weave  together 
with  certain  warp  and  filling  patterns  will  be  when  the  cloth 
is  woven  in  the  loom.  When  this  is  the  case  he  proceeds  to 
make  a  sketch  of  the  effect,  using  colored  pencils,  paints,  or 
inks  as  nearly  like  the  colors  to  be  used  in  the  cloth  as 
possible,  or  if  he  only  desires  to  know  the  form  of  the  pattern 
or  the  size  of  the  ’spot  or  figure  to  be  produced,  he  may 
simply  sketch  it  out  in  pencil  or  ink  and  make  a  black-and- 
white  effect,  provided  that  not  more  than  two  colors  are  used 
in  either  warp  or  filling.  If  three  colors  are  used,  one  coloi 
must  be  indicated  in  some  other  manner. 

In  making  a  color  effect,  the  first  process  is  to  dot  the 
weave  very  lightly  on  design  paper.  Instead  of  dotting  the 
weave,  a  very  convenient  method  is  to  prick  it  on  the  design 
paper  with  a  dissecting  needle  or  other  sharp  instrument. 
The  manner  of  arranging  the  colors  of  the  warp  may  then  be 
indicated  for  convenience  on  a  horizontal  line  of  squares 
above  or  below  the  weave.  Then  mark  with  the  proper  color 
each  warp  end  where  it  covers  the  filling.  The  filling  pattern 
may  then  be  arranged  in  the  same  manner  and  each  pick  of 
filling  marked  with  its  proper  color  wherever  it  floats  over 
the  warp.  > 


16 


COLOR  IN  TEXTILE  DESIGNING 


§83 


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Fig.  2 


To  illustrate  this  process,  suppose  that  Fig.  2  represents 
a  weave  that  is  to  be  warped  and  picked  1  of  black  and  1  of 

white,  as  indicated  by 
the  horizontal  and  ver¬ 
tical  rows  of  squares 
at  the  sides  in  which 
the  coloring  of  the  pat¬ 
tern  is  represented.  It 
will  be  noticed  that 
this  weave  is  a  check 
design  on  24  ends  and 
24  picks,  formed  by 
cutting  the  cassimere 
twill.  The  effect  of 
this  weave  when 
warped  and  picked  as 
indicated  is  found,  ac¬ 
cording  to  the  method 
previously  explained,  as  follows:  The  black  warp  ends  are 
first  marked  with  black  wherever  they  float  on  the  face  of  the 
cloth;  this  is  shown  in 
Fig.  3.  It  is  not  neces¬ 
sary  to  mark  the  white 
warp  ends,  as  they  will 
be  white  wherever  they 
are  on  the  surface,  and 
in  this  connection  it 
should  be  noted  that, 
wherever  a  warp  end  is 
white  in  a  color  effect, 
it  will  be  necessary  to 
erase  the  dots  indi¬ 
cating  the  weave  or 
the  interlacing  of  that 
end  with  the  filling  be¬ 
fore  the  color  effect  is 
finished.  The  next 

step  is  to  mark  the  picks  of  filling,  wherever  they  pass  over 


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Fig.  3 


83 


COLOR  IN  TEXTILE  DESIGNING 


17 


the  warp  ends,  with  the  proper  color,  as  indicated  by  the 
scheme  of  filling,  or  filling  pattern.  This  being  accomplished, 
the  color  effect  as 
shown  in  Fig.  4  is  ob¬ 
tained,  but,  as  some  of 
the  warp  ends  are 
white  and  show  the 
dots  that  indicate  their 
interlacings  with  the 
filling,  it  will  be  neces¬ 
sary  to  erase  these, 
after  which  the  com¬ 
pleted  color  effect,  as 
shown  in  Fig.  5,  will 
be  obtained.  The  same 
method  of  making  a 
color  effect  is  em¬ 
ployed  whether  only 
two  colors  are  used  or  several,  and  whatever  may  be  the 
warp  and  filling  patterns. 

25.  Repeats. — A  color  effect  may  require  a  greater 

number  of  ends  and  picks 
to  show  one  repeat  than 
either  the  weave  or  the 
warp  and  filling  patterns 
require.  If  the  patterns 
of  warp  and  filling  do  not 
require  more  ends  and 
picks  than  the  weave,  and 
if  the  number  of  ends  and 
picks  required  for  the  pat¬ 
terns  are  exactly  divisible 
into  the  number  of  ends 
and  picks  required  for  the 
weave,  the  color  effect 
will  be  complete  on  the 
same  number  of  ends  and  picks  as  the  weave.  The  number 


Fig.  4 


18 


COLOR  IN  TEXTILE  DESIGNING 


§83 


of  ends  required  to  show  one  repeat  of  a  color  effect  is 
equal  to  the  least  common  multiple  of  the  ends  required 
for  the  weave  and  the  ends  in  the  warp  pattern.  Similarly, 
the  number  of  picks  required  is  the  least  common  multiple 
of  the  picks  in  one  repeat  of  the  filling  pattern  and  the 
picks  in  one  repeat  of  the  weave.  For  instance,  if  a  cloth 
is  to  be  woven  with  a  weave  complete  on  8  ends  and 
6  picks  and  the  pattern  of  the  warp  contains  10  ends  while 
the  filling  pattern  requires  7  picks,  then  40  ends  and  42  picks 
will  be  required  to  show  one  repeat  of  the  color  effect 
because  40  is  the  least  common  multiple  of  8  and  10,  while 
42  is  the  least  common  multiple  of  6  and  7;  that  is,  in 
every  case  the  pattern  of  the  warp  and  the  pattern  of  the 
filling  must  repeat  with  the  weave  before  one  repeat  of  the 
color  effect  is  obtained. 

26.  Importance  of  Records. — It  is  of  the  utmost 
importance  that  the  designer  shall  keep  detailed  records  of 
the  color  schemes  of  all  the  fabrics  manufactured  by  the  mill, 
since  if  there  is  a  slight  change  in  the  order  of  the  coloring, 
or  if  the  colors  are  not  inserted  in  the  cloth  on  the  proper 
pick  of  the  weave,  the  entire  color  effect  may  be  changed. 
The  importance  of  this  may  be  seen  by  making  two  color 
effects  with  the  plain  weave,  both  to  be  arranged  1  black 
and  1  white  in  the  warp,  one  effect  to  be  arranged  1  white 
and  1  black  in  the  filling  and  the  other,  1  black  and  1  white. 
One  of  these  color  effects  will  be  a  fine  hair-line  stripe 
running  in  the  direction  of  the  warp,  while  the  other  will  be 
a  similar  stripe  but  running  across  the  cloth. 

Although  this  may  seem  to  be  an  exceptional  case,  it  may 
be  stated  that,  in  almost  every  instance,  a  radical  change  is 
made  in  a  color  effect  by  inserting  the  colors  on  the  wrong 
picks.  _ 


EXAMPLES  FOR  PRACTICE 

1.  Show  the  effects  produced  by  warping  and  picking  the  plain 
weave  as  explained  in  Art.  20. 

2.  Show  the  color  effect  on  16  ends  and  16  picks  obtained  by  warp¬ 
ing  and  picking  the  plain  weave  2  black  and  2  white. 


§83 


COLOR  IN  TEXTILE  DESIGNING 


19 


3.  Show  the  effect  on  12  ends  and  12  picks  of  coloring  the  cassimere 
twill  1  black  and  1  white  in  both  warp  and  filling. 

4.  Show  the  effect  on  16  ends  and  16  picks  of  coloring  the  8-end 
twill  (Weave  184,  Glossary  of  IVeaves) ,  1  white,  1  black,  1  green,  and 
I  red  in  both  warp  and  filling. 

5.  Show  the  effect  of  a  3  and  3  coloring  in  both  warp  and  filling 
with  the  8-harness  twilled  basket  (Weave  189,  Glossary  of  Weaves). 


ANALYZING  COLOR  EFFECTS 

27.  It  sometimes  becomes  necessary  for  the  designer  not 
oniy  to  make  a  color  effect,  but  to  analyze  one  in  order  to 
find  the  warp  and  filling  patterns  and  the  weave.  If  these 
items  are  to  be  obtained  from  a  sample  of  cloth,  no  difficulty 
will  be  experienced,  since  in  this  case  the  fabric  may  be  dis¬ 
sected  and  the  warp  and  filling  patterns  indicated  on  the 
pick-out  as  the  analysis  proceeds.  If,  however,  it  is  desired 
to  find  the  weave  and  the  warp  and  filling  patterns  of  a  color 
effect  that  is  represented  on  design  paper  in  a  conventional 
manner,  greater  difficulty  will  be  met  with  since  in  this  case 
there  is  no  method  of  directly  ascertaining  the  weave  or 
whether  any  given  portion  of  the  color  effect  is  due  to  warp 
or  filling  yarns.  There  is  no  method  of  accurately  analyzing 
a  color  effect  other  than  that  based  on  the  judgment  of  the 
designer  who,  after  becoming  acquainted  with  the  effects 
produced  by  certain  orders  of  coloring  and  certain  weaves, 
is  often  able  to  analyze  the  color  effect  off-hand,  as  it  were. 
It  is  not  meant  by  this  that  it  is  impossible  to  find  a  weave 
and  orders  of  coloring  that  will  give  a  certain  color  effect, 
but  that  there  is  no  method  of  knowing  whether  this  was  the 
original  scheme  or  not,  since  different  weaves  combined  with 
different  orders  of  coloring  may  give  the  same  color«effect. 
For  instance,  if  the  plain  weave  ~t  is  arranged  in  the  warp 
1  black,  1  white,  1  black,  1  white,  and  in  the  filling,  1  white, 
1  black,  1  white,  1  black,  a  color  effect  known  as  a  hair-line 
stripe  will  be  produced,  and  if  the  crow  twill  t~  is  arranged 
1  black,  1  white,  1  black,  1  white  in  both  warp  and  filling, 
exactly  the  same  color  effect  is  produced.  In  analyzing  a 
color  effect,  therefore,  although  neither  the  original  scheme 


20 


COLOR  IN  TEXTILE  DESIGNING 


83 


of  warp  and  filling  nor  the  original  weave  may  be  obtained, 
yet  the  results  will  be  correct.  Care  should  be  taken  in  this 
connection,  however,  to  obtain  as  simple  warp  and  filling  pat¬ 
terns  and  as  regular  a  weave  as  possible,  since  this  is  always 
an  advantage  and  in  all  probability  will  be  more  apt  to  be 

the  original  scheme. 

In  order  to  explain  the  method 
employed  in  analyzing  a  color  effect, 
an  example  will  be  taken,  and  it  will 
be  supposed  that  Fig.  6  represents  a 
color  effect  that  it  is  desired  to  know 
how  to  produce.  The  first  operation 
in  analyzing  a  color  effect  is  to  decide 
on  the  warp  and  filling  pattern. 

As  a  general  rule,  the  order  of 
arranging  the  colors  in  the  warp  and  filling  may  be  recog¬ 
nized  by  certain  ends  and  picks  having  a  preponderance  of  a 
certain  color  on  the  surface.  Thus,  in  Fig.  6,  it  will  be 
noticed  that  the  first,  second,  third,  fourth,  ninth,  tenth, 
eleventh,  and  twelfth  ends  are  mostly  white,  each  having 
only  4  black  risers,  while  the  fifth,  sixth,  seventh,  eighth, 
thirteenth,  fourteenth,  fifteenth, 
and  sixteenth  ends  are  nearly  all 
black,  only  4  risers  being  white. 

From  this  it  would  be  judged  that 
the  warp  in  this  color  effect  was 
arranged  4  white,  4  black,  4  white, 

4  black.  By  the  same  method  it 
would  be  judged  that  the  filling 
pattern  was  also  arranged  in  the 
same  order,  since  the  first  4  picks 
appear  to  be  white  and  the  next  4, 
black,  etc.  Having  decided  on  the  warp  and  filling  patterns, 
they  should  be  indicated  along  two  sides  of  the  design  as 
shown  in  Fig.  7. 

28.  The  next  operation  is  to  mark  where  the  black  warp 
ends  cover  the  white  picks;  this  is  shown  in  Fig.  7  by  the 


Fig.  6 


§83 


COLOR  IN  TEXTILE  DESIGNING 


21 


crosses.  As  the  color  effect  is  black  at  this  point,  it  is  evi¬ 
dent  that  the  warp  must  be  raised  here,  since  if  the  filling 
were  raised  at  this  point,  the  effect  would  be  white. 

The  next  operation  is  to  mark  all  the  places  where  the 
white  warp  is  raised  over  the  black  picks;  this  is  shown  by 
the  oblique  marks  on  Fig.  7.  Before  going  further  with  the 
analysis  it  is  best  for  the  beginner,  in  all  cases,  and  for  the 
more  experienced  designer,  on  complicated  effects,  to  place 
distinguishing  marks  on  those  parts  of  the  design  where  the 
warp  must  be  depressed;  that  is,  in  this  case  where  white  fill¬ 
ing  must  cover  black  warp  and  where  black  filling  must  cover 
white  warp.  These  distinguishing  marks  are  not  a  part  of 
the  weave,  since  they  represent  filling  up,  but  are  here  used 
simply  to  prevent  confusion.  They 
are  represented  in  Fig.  7  by  the 
small  dots. 

It  is  evident  that  the  weave  as  now 
obtained  would  produce  the  required 
color  effect  (not  considering,  of 
course,  the  dots  as  part  of  the  weave) , 
since,  in  those  parts  of  the  design 
that  have  not  been  marked,  color 
covers  color;  that  is,  the  warp  and 
filling  are  of  the  same  color.  How¬ 
ever,  the  cloth  would  not  be  firmly  nor  regularly  built  with 
such  a  weave,  and  so  it  is  necessary  to  make  a  more 
regular  weave. 

Since,  in  all  those  parts  of  the  design  not  marked,  color 
covers  color,  it  makes  no  difference  whether  warp  or  filling  is 
on  the  surface  so  far  as  the  color  effect  is  concerned,  and  so  the 
warp  may  be  raised  or  lowered  at  these  points  in  the  manner 
best  suited  for  producing  a  regular  weave.  By  adding  risers 
to  this  design,  as  shown  by  the  small  circles  in  Fig.  7,  we 
produce  the  most  regular  weave  possible  in  this  case,  being 
simply  the  4-harness  twill  as  shown  in  Fig.  8.  This  figure 
is  obtained  by  copying  all  of  the  marks  in  Fig.  7  with  the 
exception  of  the  dots,  which,  as  previously  explained,  mean 
that  the  filling  is  up,  and  of  course  have  no  place  in  the  weave. 


22 


COLOR  IN  TEXTILE  DESIGNING 


§83 


In  ofder  to  make  the  method  of  analyzing  a  color  effect 
clearer,  another  example  will  be  given,  of  a  slightly  more 


Fig.  9 


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Fig. 10 


complicated  nature,  although  the  method  employed  in  its 
analysis  is  the  same.  Suppose  that  it  is  desired  to  analyze 


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the  effect  shown  in  Fig.  9.  Carefully  studying  this,  as  in  the 
previous  example,  it  will  be  seen  that  it  is  warped  and  picked 


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Fig.  16 


1  and  L  Then  proceeding  with  the  analysis,  the  crosses  in 
Fig.  10  show  where  the  black  warp  is  raised  over  the  white 


83 


COLOR  IN  TEXTILE  DESIGNING 


23 


filling;  the  oblique  marks,  where  the  white  warp  is  raised 
over  the  black  filling;  the  dots  show  where  the  filling  must 
float  over  the  warp  and  do  not  enter  into  the  weave;  and  the 
small  circles  show  the  risers  that  have  been  added  to  make  a 
regular  weave.  Fig.  11  shows  the  weave  obtained  by  copy¬ 
ing  all  the  marks  except  the  dots. 

When  a  color  effect  contains  more  than  two  colors,  the 
same  method  of  analysis  is  followed  out,  except  that  three 
or  more  colors  must  be  considered  instead  of  two.  For 
instance,  suppose  that  it  is  desired  to  analyze  the  color  effect 
shown  at  Fig.  12,  which  is  composed  of  three  colors — white, 


gray,  and  black.  Carefully  studying  this  color  effect,  it  will 
be  seen  that  the  warp  pattern  is  arranged  1  white,  1  gray, 
and  1  black  and  the  filling  pattern  2  white,  2  gray,  and  2  black. 
Proceeding  with  the  analysis,  the  oblique  marks  in  Fig.  13 
show  where  the  white  warp  must  be  raised  over  the  gray  and 
black  picks;  the  crosses  show  where  the  gray  warp  must  be 
raised  over  the  white  and  black  filling;  and  the  filled  squares 
where  the  black  warp  must  be  raised.  The  dots  show  where 
the  color  eftect  calls  for  filling  up,  while  the  small  circles  are 
the  risers  added  for  the  purpose  of  marking  a  regular  weave. 
Pig.  14  is  the  weave  used,  and  is  obtained  by  copying  all  the 
marks  placed  on  Fig.  13,  except  the  dots. 


24 


COLOR  IN  TEXTILE  DESIGNING 


§83 


EXAMPLES  EOR  PRACTICE 

1.  Analyze  the  color  effect  shown  in  Fig.  15. 

2.  Give  weave  and  order  of  coloring  for  producing  the  color  effect 
in  Fig.  16. 

3.  Analyze  the  effect  in  three  colors  shown  in  Fig.  17  giving  the 
weave  and  the  warp  and  filling  patterns. 

4.  Analyze  the  effect  in  four  colors  shown  in  Fig.  18. 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  2) 


SIMPLE  AND  COMPOUND  COLORINGS 


INTRODUCTION 

1.  Definitions. — There  are  certain  well-known  orders 
of  coloring  that,  when  applied  to  simple  weaves,  produce 
what  might  be  termed  standard  effects.  These  orders  of 
coloring  may  be  divided  into  two  classes;  namely,  simple 
and  compound  colorings ,  each  of  which  may  in  turn  be  divided 
into  regular  and  irregular  arrangements. 

Generally  speaking,  a  simple  order  of  coloring  may  be 
said  to  be  one  in  which  the  colors  are  arranged  on  a  regular 
and  comparatively  simple  system,  while  a  compound  order 
may  be  considered  as  an  arrangement  obtained  by  uniting 
two  or  more  simple  arrangements.  For  instance,  if  the  yarns 
in  a  certain  piece  of  cloth  are  arranged  4  white,  4  blue,  4  red, 
4  black,  the  order  of  coloring  is  said  to  be  simple.  If,  how¬ 
ever,  the  yarns  are  arranged 

4  white  Lor  24  threads 
4  blue  J 

^  re(^  jfor  24  threads 
4  black  J 

the  order  of  coloring  is  said  to  be  compound,  since  it  is  really 
the  result  of  combining  two  4  and  4  simple  colorings. 

Copyrighted,  by  International  Textbook  Company.  Entered  at  Stationers'  Hall.  London 

§84 


92— 2  S 


2 


COLOR  IN  TEXTILE  DESIGNING 


§84 


2.  Regular  and  Irregular  Simple  Colorings. — A 
regular  simple  coloring  is  one  in  which  the  amount  of 
each  color  is  the  same  and  the  order  of  their  arrangement  is 
regular.  Thus,  if  a  cloth  is  colored  2  red,  2  white,  2  black, 
the  order  of  coloring  is  regular  and  simple.  Irregular 
simple  colorings  are  those  in  which  the  regular  structure 
is  somewhat  broken  up,  but  which  are  still  simple  colorings 
as  opposed  to  compound  colorings. 

There  are  three  ways  of  forming  irregular  simple  arrange¬ 
ments:  (1)  By  rearranging  the  order  of  the  colors  in  a 

regular  simple  pattern;  (2)  by  varying  the  amount  of  each 
color;  (3)  by  combining  the  first  two  methods. 

As  an  illustration  of  the  first  method,  suppose  that  the 
regular  simple  coloring  given  above  were  arranged  2  red, 
2  black,  2  white,  2  black,  then  it  would  be  changed  to  an 
irregular  simple  coloring.  If  the  pattern  were  arranged 
6  red,  4  white,  2  black,  it  would  be  changed  into  an  irregular 
coloring  by  the  second  method;  while  if  arranged  8  red, 
6  black,  4  white,  2  black,  or  in  some  similar  manner,  it  would 
be  made  irregular  by  the  third  method.  It  will  be  under¬ 
stood  that  in  the  pattern  obtained  by  the  first  method  the 
amount  of  black  yarn  is  doubled,  although  the  amount  of 
color  in  any  one  part  of  the  pattern  remains  the  same. 


REGULAR  SIMPLE  COLORINGS 


TWO-COLOR  PATTERNS 

3.  The  most  elementary  regular  simple  colorings  are 
the  two-color  effects,  which  are  generally  arranged  on  the 
one  and  one ,  two  and  two ,  three  and  three ,  or  four  and  four  system. 

4.  One  and  One  Colorings. — If  the  plain  weave,  with 
the  first  warp  end  raised  over  the  first  pick,  is  warped  and 
picked  1  white  and  1  black,  a  hair  line  running  across  the 
cloth  is  formed;  if  warped  1  white  and  1  black  and  picked 
1  black  and  1  white,  a  hair-line  stripe  running  in  the  direc¬ 
tion  of  the  warp  is  formed.  Reversing  the  weave  will  also 
have  the  effect  of  reversing  the  direction  of  the  stripe.  If 


§84 


COLOR  IN  TEXTILE  DESIGNING 


3 


the  plain  weave  is  warped  1  white  and  1  black  and  picked 
with  black  filling-,  an  effect  is  formed  consisting  of  small 
white  spots  distributed  on  a  black  ground,  and  if  woven  with 
white  filling,  a  black  spot  is  formed  on  a  white  ground. 

5.  Figured  Effects  With,  the  Plain  Weave. — Use  is 
sometimes  made  of  the  hair-line  effects  produced  with  the 
plain  weave  for  forming  figures.  This  is  accomplished  by 
reversing  the  plain  weave  in  certain  portions  of  the  design 
where  the  figure  is  desired,  and  warping  and  picking  the 


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Fig.  1 


cloth  on  the  one  and  one  system.  The  effect  of  this  is  to 
make  a  figure  of  fine  lines  of  color  running  in  one  direction 
on  a  ground  consisting  of  fine  lines  running  at  right  angles. 
Fig.  1  shows  a  weave  made  on  this  principle,  and  Fig.  2 
shows  the  effect  produced  by  warping  and  picking  1  white 
and  1  black. 

6.  Two-Color  Step  Effects. — One  and  one  colorings  in 
both  warp  and  filling  produce  with  the  cassimere  twill  what 
are  known  as  step  effects.  Fig.  3  shows  a  two-color  step 


4 


COLOR  IN  TEXTILE  DESIGNING 


§84 


effect  obtained  by  warping  and  picking  this  twill  1  white  and 
1  black.  This  step  effect  can  be  made  to  twill  in  the  opposite 
direction  by  reversing  the  twill  of  the  weave  so  that  it  will 
run  to  the  left.  Fig.  4  shows  another  step  effect  of  a  slightly 


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Fig.  2 


different  character,  obtained  by  warping  and  picking  the 
■3r  twill  1  white  and  1  black.  An  upright  step  effect  obtained 
with  this  same  weave  is  shown  in  Fig.  5.  This  is  produced  by 


Fig.  3 


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Fig,  5 


warping  1  white  and  1  black  and  picking  1  black  and  1  white. 
Two-color  step  effects  twilling  at  an  even  steeper  angle  than 
Fig.  5,  or  a  flatter  angle  than  Fig.  4,  may  be  obtained  by 
using  a  one  and  one  warping  and  picking  with  the  ^  twill. 


84 


COLOR  IN  TEXTILE  DESIGNING 


5 


7.  Figured  Step  Effects. — Quite  novel  effects  may  be 
obtained  with  the  cassimere  and  other  twills,  together  with  a 
one  and  one  warping  and  picking,  by  altering  the  positions 
of  the  weaves  in  the 
same  manner  as  was 
done  when  making  the 
figured  design  with  the 
plain  weave.  Fig.  6 
shows  a  weave  arranged 
for  a  design  on  this 
principle,  the  shaded  part 
indicating  where  the 
weave  has  been  reversed 
according  to  a  motive. 

Fig.  7  shows  the  effect 
produced  by  warping 
and  picking  1  white  and 
1  black.  In  designs  like 
Fig.  6,  if  the  figure  is  made  larger  it  will  be  more  pro¬ 
nounced,  but  even  small  figures  give  a  unique  pattern  of  a 
somewhat  all-over  effect,  as  is  shown  in  Fig.  7. 

In  Fig.  8,  another 
rather  unique  color  effect 
is  shown.  ,  This  is  ob¬ 
tained  by  warping  and 
picking  a  cut  check  de¬ 
sign  on  24  ends  and  24 
picks  made  with  the 
twill,  1  white  and  1 
black.  The  effect  shown 
in  Fig.  8  is  an  especially 
good  one  for  a  cloth  con¬ 
taining  more  ends  than 
picks  per  inch,  on  account 
of  the  long  floats  of  color 
running  in  the  direction  of 
the  filling.  An  excellent  effect  can  be  produced  by  this 
method  with  the  cassimere  instead  of  the  -j  twill.  If, 


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Fig.  7 


6 


COLOR  IN  TEXTILE  DESIGNING 


§84 


instead  of  making  a  check  design  with  the  cassimere,  a  cut 
stripe  weave  is  formed,  a  very  unique  stripe,  or  wave,  effect 
is  produced  by  warping  and  picking  on  the  one  and  one  sys¬ 
tem.  Fig.  9  shows  a  stripe  weave  made  with  the  cassimere 

twill,  and  Fig.  10  shows 
the  effect  of  warping  and 
picking  1  white  and  1 
black.  By  reversing  and 
cutting  the  cassimere 
twill  warp-way  instead  of 
filling-way  the  wave  ef¬ 
fect  will  be  produced 
lengthwise  of  the  cloth  in¬ 
stead  of  across  the  fabric. 

8.  Two  and  Two 
Colorings. — Many  good 
effects  may  be  obtained 
with  two  and  two  color¬ 
ings  in  connection  with 
simple  weaves  and  with  weave  combinations.  In  Fig.  11, 
the  effect  produced  with  the  plain  weave  by  warping  and 
picking  2  white  and  2  black  is  shown.  This  produces  a 
small  check  effect  used  in  worsted  suitings  and  dress  goods 


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Fig.  9 


to  some  extent.  A  variety  of  effects  may  be  obtained  with 
any  one  weave  by  using  a  two  and  two  warping  together 
with  solid  filling  or  with  two  and  two  picking.  For  instance, 
Fig.  12  shows  the  effect  produced  by  warping  the  cassimere 


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Fig.  8 


84 


COLOR  IN  TEXTILE  DESIGNING 


7 


twill  2  white  and  2  black  and  using  white  filling;  Fig.  13 
shows  the  effect  obtained  by  using  black  filling;  and 
Fig.  14,  the  effect  obtained  by  picking  2  black  and  2  white. 
In  Fig.  12,  a  broken  black  stripe  is  formed  on  a  white 
ground;  while  in  Fig.  13,  a  broken  white  stripe  on  a  black 


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Fig.  10 


ground  is  produced.  In  Fig.  14,  continuous  black  and  white 
stripes  running  lengthwise  of  the  piece  are  formed,  but  if 
the  cassimere  weave  were  picked  as  warped,  the  effect  would 
run  crosswise  of  the  goods. 

With  the  4-end  basket  weave,  a  continuous  stripe  similar 
to  the  hair  line,  but  containing  two  ends  of  each  color,  may 


be  obtained  by  warping  2  white  and  2  black,  and  arranging 
the  filling  on  the  two  and  two  principle  in  such  a  manner 
that  color  will  cover  color;  that  is,  so  that  black  filling  will 
cover  black  warp  where  the  latter  is  depressed  and  white 
filling  will  cover  white  warp  in  the  same  manner.  For 
instance,  by  warping  2  white  and  2  black  and  picking  2  black 


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Fig. 11 


8  COLOR  IN  TEXTILE  DESIGNING  -  §84 


and  2  white  the  stripes  will  run  lengthwise,  if  the  first  twc. 
ends  of  the  weave  are  raised  over  the  first  two  picks. 

9.  Three  and  Three  Colorings. — The  three  and  three 
system  of  coloring  yields  with  the  6-end  twill  to  which 
it  is  well  adapted,  effects  somewhat  analogous  to  those 


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Fig.  13  Fig.  14 


obtained  with  a  two  and  two  coloring  and  the  cassimere 
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warp  arrangement  and  a  black  filling  with  the  6-end  twill. 
In  this  case,  a  broken  white  stripe  on  a  black  ground  is 
formed,  but  if  white  filling  were  used,  the  effect  would  be 


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Fig. 16 


reversed.  Fig.  16  shows  the  effect  of  warping  the  6-end 
twill  3  white  and  3  black  and  picking  3  black  and  3  white. 
It  will  be  noticed  that  the  spots  are  connected,  in  this  figure, 
to  form  stripes  lengthwise  of  the  piece,  while  if  the  weave 
were  picked  3  white  and  3  black,  the  same  general  effect 
would  be  obtained,  but  they  would  be  connected  in  the 


§84 


COLOR  IN  TEXTILE  DESIGNING 


9 


direction  of  the  width  of  the  fabric.  Quite  an  effective  stripe 
is  shown  in  Fig.  17,  being  obtained  by  coloring  the  warp 


prunelle  twill  3  white 
and  3  black  in  both 
warp  and  filling. 


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Fig. 18 


10.  Four  and  Four  Colorings. — Four  and  four  color¬ 
ings  produce  good  color  effects  both  wTith  the  cassimere  and 
with  the  8-end  twill.  In  Fig.  18,  a  very  common  effect 
in  woolen  suitings  known 
as  the  shepherd' s  check  is 
shown.  This  is  made  by 
warping  and  picking  the 
cassimere  twill  4  white 
and  4  black.  Fig.  19 
shows  the  effect  obtained 
by  warping  the  regular 
twill  4  white  and  4  black 
and  picking  4  black  and 
4  white.  The  effects  in 
either  Fig.  18  or  Fig.  19 
may  be  connected  filling¬ 
way  instead  of  warp-way 
by  simply  altering  the 
picking  plan.  Broken  stripes  may  be  made  with  either  the 
cassimere  or  the  ^  twill  by  warping  on  the  four  and  four 
system  and  picking  with  solid  color  filling. 


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10 


COLOR  IN  TEXTILE  DESIGNING 


§84 


A  good  effect  for  a  dress-goods  pattern  is  shown  in  Fig.  20. 
This  is  obtained  by  coloring  the  10-end  weave  shown  in 
Fig.  21,  4  black  and  4  white  in  both  warp  and  filling.  As  the 


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□□□□BBDB 

□□□□BBBD 

BDDDBBBB 

LJBPPBBBB 

BBDJBBBB 

BBQDBBBB 

□□□□□□BB 

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□□□□BBDD 

□□□□aann 

BIBBBBBH 

anaaaBBB 

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bbbddddd 

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BBBBBBBB 

BBBBBDDD 
BABB:  !■_□ 

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□□□□□BBB 

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□□□□□□BB 

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□□BDBBBB 

□□□BBBBB 

Fig.  20 


coloring  is  complete  on  8  ends  and  8  picks,  and  the  weave 
requires  10  ends  and  10  picks,  it  is  evident  that  40  ends 
and  40  picks  will  be  required  to  show 
one  repeat  of  the  color  effect,  since  40  is 
the  least  common  multiple  of 
8  and  10. 

11.  Extensions  of  Reg¬ 
ular  Two-Color  Patterns. 
The  principle  of  coloring  dis¬ 
cussed  is  often  Extended  to  six  and  six,  and  eight  and  eight, 


■■□□□□■a 


■■ 

■a 

□□ 

□□ 

□a 

□□ 

□□ 


Fig.  21 


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□□□Baa 

□□□BBB 

BBBOIZO 

BBBDDD 

paanga 


Fig.  22 


and  as  high  as,  or  even  higher  than,  sixteen  and  sixteen 
colorings.  These  may  be  employed  to  advantage  with 


84 


COLOR  IN  TEXTILE  DESIGNING 


11 


simple  weaves  and  also  with  check  weaves  made  by  com¬ 
bining  twills,  twill  and 
basket,  or  twill  and  plain 
weaves,  etc.  It  will  be 
understood  that  the  ef¬ 
fects  given  are  only  a  few 
of  the  desirable  patterns 
that  may  be  obtained, 
since  small  fancy  weaves 


and  ingenious  groupings  of  weaves  and  colorings  will  often 
produce  excellent  effects.  The  limit  of  patterns  that  may 


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■■■■□□□□ 

■□□□■■■□ 

■■□□■■□□ 

■■■□■□□□ 


Fig.  24 


■■■□□□■■ 

□□□■■■■a 

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■□□■■□■a 

□□□□□□an 

□□□□□□□□ 

□□BBIBHB 

BBBB1BII 

BRRIBIIB 

■□R1BB1I 

□□BDDBBD 

□□□□□BBB 

□□□□□111 

□□BBBDQD 

llllflBQB! 

bbbbbbbb! 

bbbbbbbb! 

BBHBBSQQi 

BIBBIB!  ]□ 

bibihbbq: 

■□□»■□□□! 

□□□■■■□□ 

□aiaanaa 

□BIDBBII 

□□□□anna 

□□□□□□□a 

□□□□□□□a 

□□□□■■■□ 

□□□□■■■□ 

□□□□□aan 

RIBBHBIQ! 
«■■■□□□■! 
IflfllQQQI 
sibiiq:  :a 

□BBDDDDQ 

□Biiannn 

□BiBonm 

■□□□□□□□ 

■□□BBBBB 

■□□□■■■■ 

■□□□■■■■ 

□■■BBBBB 

□BIBIIBI 

□■■□■BBB 

□□□□■□□■ 

□□□□□□□■ 

□□□BBBBB 
B  BB  BB 

□□□□□□an 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□BB 

□□□□□□BB 

□□□□□□□B 

■■■□□□■■ 

□□□BBBBB 

□□□BBBBB 

■□□BBQRB 

□□□□□□BD 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□BB 

□□□□□□KB 

□□□□□□□■ 

□BfflDQBfflffl 

■■■□□□■■ 

■■■□□□BB 

□□□■■■■■ 

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Fig. 23 


■■■□■□□□ 

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■■■■□□□□ 

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□□□■□■■■ 

BBBBBBBBI 

■■■■■BBB 

■■■BBBBB 

■■■■■BBB 

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■■■■■■■■ 

■■■■■■■■ 

BBBBBBBB 

□□□■□■■■ 

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■■■■□□□□ 

□□□□■■■n 

■□□□■■■□ 

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BiBDiaon 

■■■■■■■■ 

■■■■■■■■ 

BBBBBBBB 

BBBBBBBB 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

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BBBBBBBB 

BBBBBBBB 

BBBBBBBB 

BBBBBBBB 

BBBBBBBB 

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BBBBBBBB 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

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□□■■□□■■ 

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■■■■□□□□ 

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■□□□■■■□ 

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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□■□■■■ 

□□■■□□■■ 

□■■■□□□■ 

■■■■□□□□ 

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Fig.  25 


be  obtained  may  be  said  to  exist  only  in  the  limit  of  the 


12 


COLOR  IN  TEXTILE  DESIGNING 


§84 


designer’s  ingenuity.  A  few  examples  will  suffice  to  illus¬ 
trate  the  patterns  that  may  be  obtained  by  the  extension  of 
the  principle  of  two-shade  regular  colorings. 

In  Fig.  22,  a  small  basket  weave  is  illustrated,  while  Fig.  23 
shows  the  effect  of  warping  and  picking  this  weave  6  white 
and  6  black.  This  is  a  very  neat  effect,  suitable  for  worsted 
or  woolen  dress  goods  or  suitings.  An  effect  obtained  in  a 
somewhat  similar  manner  with  the  weave  shown  in  Fig.  24 
and  an  eight  and  eight  coloring  in  both  warp  and  filling  is 
shown  in  Fig.  25. 


EXAMPLES  FOR  PRACTICE 

1.  Make  an  original  one  and  one  two-color  figured  effect  with  the 
plain  weave. 

2.  (a)  Make  a  two-color  step  effect  with  the  10-harness  regular 
twill  s~g.  (6)  Change  the  picking  plan  so  as  to  alter  the  angle  at 
which  the  effect  is  twilled. 

3.  Make  a  cut  check  weave  on  32  ends  and  32  picks  with  the 
cassimere  twill  and  show  the  effect  by  warping  and  picking  on  the 
one  and  one  two-color  system. 

4.  Show  the  effect  of  a  two  and  two  coloring  with  the  4-end  regular 
basket  weave. 

5.  Show  the  effect  of  a  three  and  three  two-color  warping  and 
picking  with  the  cassimere  twill. 

6.  Make  an  original  color  effect  on  the  principle  of  Fig.  23. 


THREE-COLOR  PATTERNS 

12.  In  three-color  regular  colorings,  the  same  methods 
are  followed  as  with  two-color  patterns  except  that  three 
colors  are  used.  For  instance,  a  one  and  one  coloring  con¬ 
sists  of  3  ends  or  3  picks,  each  of  a  different  color  and 
arranged  in  regular  order  in  the  cloth.  A  two  and  two 
coloring  is  the  same  thing,  only  there  are  2  ends  of  each 
color  together,  etc. 

13.  One  and  One  Colorings. — In  one  and  one  colorings 
on  this  system,  there  are  several  desirable  effects  that  may 
be  produced.  With  the  warp  prunelle  weave,  a  three-color 


§84 


COLOR  IN  TEXTILE  DESIGNING 


13 


hair-line  stripe  may  be  produced  by  arranging  the  warp 
1  white,  1  gray,  1  black,  or  any  other  suitable  colors,  and  so 
arranging  the  filling  with  the  same  colors  that  each  pick  of 


ommmmmom 

mmmm 

nmooomam 

□□□■ 

ommmmmom 

mmmm 

oaaommao 

oomm 

OMmmMmOM 

mmmm 

ommmmmom 

mmmm 

mmmammam 

mom  ■ 

mmmommmm 

momm 

oooommo □ 

oomm 

mmmommmm 

■DM 

oomomooo 

momo 

mmmommmm 

momm 

ommoooom 

■□□□ 

mmmommmm 

momm 

mmmommmm 

ommmmmom 

■■■■ 

ommmmmam 

■■■■ 

ommoooom 

■□□□ 

ommmmmam 

mmmm 

omooomom 

□□□■ 

ommmmmom 

mmmm 

ooDommoo 

oomm 

ommmmmom 

mmmm 

ommmmmom 

mmmm 

mmmommmm 

momm 

mmmommmm 

momm 

oooommoo 

oomm 

mmmommmm 

■UHH 

□□■□!!□□□ 

momo 

mmmommmm 

mourn 

ommooaau 

■□□□ 

mmmommmm 

momm 

mmmommmm 

ommmmmom 

■■■■ 

ommmmmom 

■■■■ 

ommoooom 

■□□□ 

Fig.  26 

Fig.  27 

Fig.  28 

filling  will  cover  its  own  color  of  warp  when  the  latter  is 
depressed. 

In  Fig.  26,  a  three-color  step  effect  is  shown.  This  is 
made  by  warping  the  6-end  twill  1  white,  1  gray,  1  black 


omooomom 

□□□■ 

mommmmmo 

mmmm 

ommmmmmo 

mmma 

ommmmmom 

mmmm 

ommmmmom 

mmmm 

mmmmmmoo 

■■HI 

mmmommmm 

wamm 

mommmmmo 

mmmm 

mammmmam 

oomomooo 

momo 

ommmmmom 

mum  u 

oammmmmm 

mmmm 

mmmommmm 

oaomomoo 

amam 

aoommaoa 

maarn 

ommmmmom 

mmmm 

oamamoaa 

momo 

aammoaao 

omooomom 

□□□■ 

mommmmmo 

mmmm 

aommmmom 

mmmm 

ommmmmom 

mmmm 

ommmmmom 

mmmm 

□□■■■■■■ 

mmmm 

mmmommmm 

momm 

mommmmmo 

mmmm 

ommmmmmo 

mmmm 

oomomooo 

momo 

ommmmmam 

mmmm 

mmmmmmoo 

mmmm 

mmmommmm 

oaomomoo 

omom 

oomoomoo 

ammo 

ommmmmam 

mmmm 

oomomooo 

momo 

mmoa 

Fig.  29  Fig.  30  Fig.  31 


and  arranging  the  filling  1  black,  1  white,  1  gray.  Figs.  27 
to  29,  inclusive,  show  three  useful  modifications  of  the  step 
effect  obtained  with  the  same  weave  and  warp  arrangement 


mmmm 

□□□□□■□□ 

□□□■ 

umummmuu 

mmmm 

mmmmmmmm 

mmmm 

mmmmmuMU 

mmmm 

mmmmmmmm 

mmmm 

oammaoao 

mmoa 

mommmmmo 

mmmm 

oomooooo 

maoa 

oommmmoo 

mmmm 

■■■■ 

□□□□□■□□ 

□□□■ 

□■■■■■□■ 

■■■■ 

mmmmmmmm 

mmmm 

mmmmmmmm 

mmmm 

mmmmmmmm 

mmmm 

mmmmmmmm 

mmmm 

ooMuaaoo 

umoo 

mommmmmo 

mmmm 

oomooooo 

mooo 

oommmmoo 

mmmm 

Fig.  32  Fig.  33 


by  altering  the  arrangement  of  the  filling.  In  Fig.  27, 
the  white  effect  is  broken  up  and  the  black  and  gray  colors 
only  form  continuous  step  effects.  This  is  obtained  by 


14 


COLOR  IN  TEXTILE  DESIGNING 


84 


□□ 

□n 


■■■ 

~MO\ 

□□I 


□□□□□ 

□□□□ 


□□i 

□□□I 


awmmmmt 


aaamaaa 

□□□□□□■ 


ibdi 


picking  1  black,  1  gray,  1  white.  In  Fig.  28,  the  black  effect 
is  broken  and  the  gray  and  white  are  continuous;  this  is 

obtained  by  picking  1  white,  1 
black,  1  gray.  By  picking  1  gray, 
1  black,  1  white,  as  in  Fig.  29,  the 
step  effect  is  entirely  destroyed, 
each  of  the  three  colors  being 
broken  up. 

14.  Two  and  Two  Color¬ 
ings.— Many  desirable  patterns 
are  produced  by  this  method  of 
coloring.  In  Fig.  30,  the  effect 
is  shown  of  warping  and  pick- 
In  Fig.  31, 


■□□□■■I 

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aaaammaa 

aaaamaaa 

□□□□□□□ 

□□bbbb 


oaaamm 

aaaammma 

miDiitiiiii 

aaammma 

aaaaaama 

~aaaamma 

aaaammma 


□ 

□□ 

□□ 


Fig.  34 

ing  the  plain  weave  2  white,  2  gray,  2  black 
a  very  neat  effect  is  shown,  obtained  by  warping  and  picking 


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ma 

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maam 

aammmmmm 

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ammmmmma 

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■a 

b mmaammm 

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wmrna 

□□□■□□ BB 

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ma 

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aaaaamma 

aaaaamma 

aaaaaama 

□aia 

aaaammaa 

maaamm 

□□ 

aaoaamaa 

BBoanaan 

□bod 

Fig.  35 


the  cassimere  twill  2  white,  2  gray,  2  black.  Fig.  32  shows 
the  effect  obtained  by  using  the  same  arrangement  of  colors 


84 


COLOR  IN  TEXTILE  DESIGNING 


15 


□□□■■■■! 

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■■ aammmm 

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■■■■□□□□ 

mmmauuum 

wmaauuwm 

maaaumnm 

■  ■■■HU! 

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aaommmmm 

uuwmmmm 

ummmmumm 

onoommmo 

□□□□!!□□ 

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»□□□□□□ 

msnnnnn 

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RBIBISSS 

□□□!■■■□ 

□□!!■■□□ 

□!!!■□□□ 

and  the  6-harness  regular  twill.  Fig.  33  shows  another  very 
useful  effect  obtained  with  the  same  weave  and  arrange¬ 
ment  of  colors  in  the  warp  as  Fig.  32.  The  color  in  the 
filling  of  this  effect  is 
arranged,  however,  2 
black,  2  gray,  2  white. 

15.  Three  and 
Three  Colorings. 

Like  other  simple  color¬ 
ings,  this  arrangement  is 
one  that,  if  used  with  suit¬ 
able  colors,  is  capable  of 
producing  very  neat  and 
useful  effects.  Fig.  34 
shows  a  neat  check  effect 
obtained  by  warping  and 
picking  the  6-end  regular  fig.  36 

twill  3  white,  3  gray,  3  black.  Fig.  35  shows  a  somewhat 
broken  check  effect  obtained  with  the  same  warping  and 
picking  as  Fig.  34,  but  made  with  the  cassimere  twill.  Since, 

in  this  effect,  the  weave 
requires  4  ends  and  4 
picks,  while  the  warp  and 
filling  patterns  require  9 
ends  and  9  picks,  36  ends 
and  36  picks  are  required 
for  one  repeat  of  the  color 
effect,  as  this  number  is 
the  least  common  multiple 
of  4  and  9.  This  is  a  very 
suitable  effect  for  fine 
worsted  suitings  if  the 
colors  used  harmonize 
well. 


unaaawmm 

□■■■!!!■ 

■■■□!!■■ 

amoommaa 

■■■■□□■■ 

■■■■□■■■ 

■■■■■■■□ 

■■■■■■□□ 

■■!!!□□□ 

■!!!■■■■ 

!!!■■■■■ 

mmaaaaaa 

!■■■■■■■ 

■Hiinnii 

HilllllllllillH 

□nil  1111111111 

mmaanmmm 

MMMMMMMM 

□□□□!!□□ 

□□□□□□!! 

□□■■■□□□ 

uaaammma 

aaaammaa 

aaoomaaa 

■■■■□■■■ 

■■■■□□■■ 

■■■■□□□■ 

■■□□□□□□ 

■■■□□□□□ 

□■■■□□□□ 

□□■■□□□□ 

■□□□■■■□ 

■■□□■■■a 

■■■□■■■a 

□□BBBIII 

□□CWMM 

maoommm 

aammmuuu 

■!!!□□□! 

mmmmmmmm 

□□Hililllilll 

HHiinnBH 

HHHililHHlii  H! 

□□□□!!□□ 

□□□□□□□! 

□□□□□□!! 

!!■■□!!! 

□■■■□□□□ 

■■■□□□□□ 

■■□□□□□□ 

■□□□□□□□ 

!!□□□■■■ 

!□□□■■■□ 

□□□!■■□□ 

□□!!■□□□ 

Fig.  37 


16.  Four  and  Four  Colorings. — Effects  obtained  on 
this  principle  are  somewhat  bolder,  since  the  color  is  applied 
in  larger  amounts,  but  the  effects  produced  may  be  adapted 


16 


COLOR  IN  TEXTILE  DESIGNING 


§84 


to  almost  any  fabric  by  using  suitable  colors.  Three  effects 
of  this  method  of  coloring  are  shown  in  Figs.  36,  37,  and  38, 

in  all  of  which  the  order 
of  coloring  in  both  warp 
and  filling  is  4  white,  4 
gray,  4  black.  Fig.  36  is 
based  on  the  8-end  reg¬ 
ular  twill  ^r;  Fig.  37,  on 
the  6-end  twill  -3-;  and 
Fig.  38,  on  the  cassimere 
twill.  Many  other  effects 
may  be  made  with  this 
order  of  coloring  by 
using  different  weaves 
or  weave  combinations. 
As  in  two-color  patterns, 
the  four  and  four  order  of  coloring  is  often  extended  to  six 
and  six,  eight  and  eight,  etc. 


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BBddBBdE 
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ddBBggBB 

BBBBOBBO 

BBBBBBdd 

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BBBBddBB 

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mmmmmmoo 

□BBDBBBB 

■BEQBBBB 

BQQB9BBB 

BgBSBBBB 

n  □  □  n  n  ii  n 

mmmmm nnm 

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BH00DD00 

11 11 11 11  IB  ■  11 11 

ddddSddB 

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□□□□□«□ 

oooommao 

□BBDUBB □ 
BBddBBOS 
BddBBBBH 

□□BB0DBB 

BddBdddd 

ddBBdddd 

dBBddddd 

BBdddddd 

BBSBdBBd 

BBBBBBdd 

BBEBBddB 

HHBJBddBE 

moommoau 

nommoomm 

omuoommo 

EBddBBdd 

I1BBQBBBB 

■BQBBBBB 

BQDBBBBB 

□□BEBBSB 

□ggggggg 

□□ 

mo 

BB 

SB 

as 

IIIIhbbh 

inniiiii 

mmmmmoom 

iHsiy 

Bdddd 

scran 

□□□□□ 

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Sdddd 

sdddd 

□□□□□ 

□□□□□ 

BBBDD 

□CBBd 

BDUBB 

BBDDH 

EddEBddB 

□dBBddBB 

ammaamma 

HBddflBdd 

Fig.  38 


FOUR-COLOR  PATTERNS 

17.  A  greater  variety  of  patterns  may  be  obtained  with 
four  colors  than  with  either  two  or  three,  and,  generally 
speaking,  the  effects  obtained  are  more  broken  and  the 


.2 

... 

mm* 

i 

.... 

pi  i.  JB 

nWm. pW 

sBHI 

Fig.  39 


patterns  more  diversified  in  form  and  grouping.  The  same 
methods  of  grouping  the  colors  are  employed  with  four-color 
regular  simple  colorings  as  with  the  two-  and  three-color 
patterns. 


§84 


COLOR  IN  TEXTILE  DESIGNING 


17 


18.  One  and  One  Coloring's. — In  one  and  one  color¬ 
ings  in  this  system,  there  are  several  desirable  effects  that 
may  be  obtained.  With  the  warp-flush  crow  twill,  a  four-color 
hair-line  stripe  may  be  produced  by  arranging  the  warp, 

1  white,  1  light  gray,  1  dark  gray,  1  black,  (or  any  other 
suitable  colors),  and  so  arranging  the  filling  that  each  color 
will  cover  its  own  color  warp  when  the  latter  is  depressed. 
Step  effects  may  also  be  made  on  this  principle  after  the 
style  of  Figs.  26,  27,  28,  and  29,  by  using  the  regular  twill. 

19.  Two  and  Two  Colorings. — The  effect  obtained  by 
coloring  the  plain  weave  2  white,  2  light  gray,  2  dark  gray, 

2  black,  in  both  warp  and  filling,  is  shown  in  Fig.  39,  while 
in  Fig.  40  the  effect  is 
shown  of  the  same  color¬ 
ing  on  the  cassimere  twill. 

Good  effects  may  also  be 
obtained  on  this  system 
by  the  use  of  other 
weaves  and  by  using  any 
four  harmonious  colors. 

20.  Three  and 
Three  Colorings. 

Colors  arranged  on  this 
system  are  adapted  to  the 
cassimere  and  6-harness 
twills,  and  to  small,  neat, 
fancy  weaves  with  which 
they  give  good  results.  Fig.  41  shows  the  effect  of  warping 
and  picking  the  6-harness  twill  3  white,  3  light  gray,  3  dark 
gray,  3  black. 

21.  Four  and  Four  Colorings. — Like  those  previously 
described,  this  system  of  applying  color  may  be  employed 
with  a  variety  of  weaves  or  weave  combinations  and  with 
any  colors  suitable  for  the  fabric  being  made.  In  Fig.  42, 
the  effect  is  shown  of  warping  and  picking  the  cassimere 
twill  4  white,  4  light  gray,  4  dark  gray,  4  black.  In  most 
cases,  the  size  and  diversity  of  the  patterns  produced  by 

02—29 


m  ...MS 

_ L- -  - 

w 

— C 

"T 

_j 

j 

.... 

in 

. 

■  liP^- 

If 

m 

m 

BP  •  ■ 

mar 

P 

. 

1 

j  jjr 

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1 

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m 

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1  1  1  1  .1 

: zh 

Fig.  41 


18 


COLOR  IN  TEXTILE  DESIGNING 


§84 


regular  simple  colorings  ^re  greatly  increased  by  using 
weaves  that  are  not  exactly  divisible  into,  or  by,  the  pattern 
used. 


Fig.  42 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  broken  three-color  step  effect  similar  to  Figs.  27  and  28, 
but  having  only  the  gray  effect  broken,  the  black  and  white  forming 
continuous  steps. 

2.  Show  an  original  color  effect  on  the  two  and  two  three-color 
system. 

3.  Show  the  effect  produced  by  a  three  and  three  three-color 
arrangement  with  the  4-etid  basket  weave. 

4.  Make  an  original  two  and  two  four-color  effect. 

5.  Show  the  effect  produced  by  a  three  and  three  four-color 
arrangement  with  the  8-harness  twilled  basket  weave. 


§84 


COLOR  IN  TEXTILE  DESIGNING 


19 


IRREGULAR  SIMPLE  COLORINGS 

22.  There  is  a  large  variety  of  irregular  simple  color¬ 
ings,  and,  in  general,  it  may  be  said  that  they  are  usually 
adopted  in  connection  with  specific  weaves  to  form  certain 
effects.  The  number  of  standard  irregular  simple  colorings, 
however,  is  small;  in  fact,  this  system  of  coloring  is  less 
sharply  defined  than  that  of  regular  simple  colorings,  and  in 
some  cases  the  arrangement  of  color  may  almost  be  mis¬ 
taken  for  a  compound  coloring. 


BSDBHDffllS 

iRQIRDBB 

HRDSBDBB 

□BSD 

□BSD 

□BSD 

□BSD 

□BDBDDDB 

HRDBHRRB 

BHBBBDRR 

BDDDBDBD 

□BDD 

□BBR 

BIRD 

□DBD 

■BRBRBRB 

HBI19BEB 

□□□□□□□□ 

IHIIIIH 

■II1BIII 

□□□□□□□□ 

□BESD 

□san 

□  BID 
□BHD 
□BAD 
□BBD 

□BBD 

□  BBD 

■BRBHDBB 

■HDBBBBR 

□BDBDDDB 

BBDBBBBB 

BBBIBDBH 

BDDDBDBD 

BBHBIDBB 

BBDBBBBB 

BBBD 

□BBB 

□BDD 

□BBR 

BBBD 

□DBD 

BBBD 
□  BBB 

Fig. 43 


Fig.  44 


IRREGULAR  TWO-COLOR  SIMPLE  PATTERNS 

23.  There  are  a  large  number  of  effects  that  may  be 
obtained  with  two 
colors  and  irregular 
simple  arrangements. 

For  instance,  Fig.  43 
shows  a  stripe  design 
obtained  with  the 
warp  prunelle  twill 
by  warping  2  black 
and  1  white  and  picking  1  white  and  2  black.  By  using 
the  filling-flush  prunelle  and  arranging  the  filling  the  same 

as  the  warp,  the  effect  may  be 
made  to  run  across  instead 
of  lengthwise  of  the  cloth. 
Similar  stripe  effects  may  be 
obtained  with  crow  weaves  or 
with  the  5-harness  or  twill 
with  3  and  1  or  4  and  1  arrange¬ 
ments  of  the  colors.  The  ef¬ 
fect  is  shown  in  Fig.  44  of  a 
2  black  and  1  white  warping 
and  picking  with  the  plain 
weave.  The  effect  may  be  re¬ 
versed,  of  course,  by  warping  and  picking  2  white  and  1  black 
instead  of  2  black  and  1  white.  Fig.  45  shows  another  effect 


BDBD 

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□□□□ 

BBBB 

□□□□ 

BBBB 

BDBD 

BDBD 

BBBB 

□□□□ 

BBBB 

□□□□ 

BBBB 
□  BDB 

□BDB 

□BDB 

□□□□ 

BBBB 

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BBBB 

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BflBBBBDBl 

bdbdbbbb: 

BDBDBDDDl 

BDBDBBBB: 

bdbdbddd! 

BDBDBBBB 

iBBBBBBDBi 

BDBRBBBB 

BDBDDDDD 

BDBRBBBB 

BDBDDDDD 

BDBRBBBB 

BBHBDBDB 

DDDBDBDB 

BBBBDBDB 

BDBRBBBB 

BDBDDDDD 

RDRBBRHR 

BDBDDDDD 

□BDBDBDD 

BHDHDBBB 

■HBHBBBD 

BDDDDDBD 

BBBRBBBD 

BDDDDDBD 

BBBBBBBD 

BBDBDBBB 

DDDBDBDB 

BBBBDBDB 

BDBRBBBB 

BDBDDDDD 

BDBRBBBB 

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BBBBDBDB 

□BDDDDDB 

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□BBBBBBB 

Fig.  45 


20 


COLOR  IN  TEXTILE  DESIGNING 


§84 


obtained  with  the  plain  weave  by  warping  and  picking 
2  black,  1  white,  1  black,  1  white.  A  very  unique  effect  may 
be  obtained  with  the  plain  weave  by  combining  the  warping 


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Fig. 46 


of  Fig.  44  with  the  picking  of  Fig.  45.  A  neat  effect  is 
shown  in  Fig.  46,  which  is  obtained  by  arranging  the  yarns 
4  black  and  2  white  in  both  warp  and  filling,  the  weave  being 


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Fig.  47 


the  cassimere  twill.  An  effect  suitable  for  a  suiting  pattern 
is  shown  in  Fig.  47,  and  is  produced  by  warping  and  picking 
the  6-end  regular  twill  6  black  and  2  white. 


§  84 


COLOR  IN  TEXTILE  DESIGNING 


21 


IRREGULAR  THREE-COLOR  SIMPLE  PATTERNS 

24.  An  effect  produced  on  this  plan  is  shown  in  Fig.  48, 
being  obtained  by  warping  and  picking  the  5-end  regular 


twill  '3~2  2  black,  2  gray, 


1  white.  Another  neat 
pattern  made  on  this 
principle  and  suitable  for 
a  suiting  or  dress-goods 

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ummmmmmm 

mummmmmm 

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mmmmummm 

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mmmmummm 

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mmmmmmm 

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mwmwwmmM 

mammmmmm 

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mmmmummm 

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mmmmmmmm 

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mmmmmumm 

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BIBBQQBB 

Fig.  48  Fig.  49 


pattern  is  shown  in  Fig.  49.  This  is  obtained  with  the  com¬ 
mon  4-harness  cassimere  twill,  the  warping  and  picking 
being  6  black,  2  gray,  2  white,  2  gray. 


IRREGULAR  FOUR-COLOR  SIMPLE  PATTERNS 

25.  As  is  the  case  in  all  the  other  simple  colorings,  a 
great  variety  of  patterns  may  be  produced  with  four-color 
irregular  arrangements,  one  or  two  of  which  will  be  sufficient 
to  demonstrate  the  style  of  patterns  that  may  be  obtained. 
Fig.  50  shows  an  effect  obtained  by  warping  and  picking 
4  black,  2  dark  gray,  4  light  gray,  2  white.  The  weave  used 
is  the  6-harness  regular  twill.  In  Fig.  51,  a  very  neat 
irregular  four-color  pattern  of  a  somewhat  shaded  character 
is  shown,  the  yarns  being  arranged  4  black,  2  dark  gray, 
2  light  gray,  4  white,  2  light  gray,  2  dark  gray  in  both  warp 
and  filling.  The  weave  employed  in  this  effect  is  an 
8-harness  twill,  shown  in  Fig.  52. 


22 


COLOR  IN  TEXTILE  DESIGNING 


§84 


Fig. 50 


Fig.  51 


V 


84 


COLOR  IN  TEXTILE  DESIGNING 


23 


SUMMARY 

_  • 

26.  It  will  be  understood  that  the  regular  and  irregular 
colorings  given  illustrate  but  a  few  of  the  unlimited  number 
of  possible  and  actual  patterns  obtained  with  simple  colorings. 
With  any  of  the  arrangements  given,  the  colors 
and  yarns  may  be  selected  according  to  the 
coloring  and  fabric  desired.  The  weaves,  too, 
may  be  varied,  and  in  many  cases  new  and 
original  weaves  will  be  found  to  produce  excel¬ 
lent  effects.  The  effects  may  also  be  varied 
by  using  double-and-twist  yarns  composed  of  two  single 
yarns  of  different  colors  or  by  using  mixture  or  fancy  yarns 
instead  of  solid-colored  threads. 

As  far  as  possible,  the  colorings  given  have  been  what 
might  be  termed  standard,  and  many  of  the  effects  obtained 
will  be  found  on  the  market  woven  with  yarns  of  various 
materials  and  colors.  Many  of  the  effects  are  shown  com¬ 
paratively  small  on  account  of  the  difficulty  of  illustrating 
large  patterns,  but  patterns  of  any  extent  can  be  produced  by 
applying  the  same  principles  and  increasing  the  number 
of  ends  and  picks  of  each  color,  etc. 


Fig.  52 


EXAMPLES  FOR  PRACTICE 

1.  Make  a  color  effect  arranged  2  black  and  1  white  in  both  warp 
and  filling,  the  effect  to  be  complete  on  12  ends  and  12  picks.  Show 
weave  used. 

2.  Make  an  irregular  two-color  simple  effect  with  the  5-harness 
^2  regular  twill. 

3.  How  many  ends  and  picks  are  required  to  show  one  repeat  of  a 
color  effect  with  the  yarns  arranged  2  black,  2  gray,  2  black,  1  gray  in 
both  warp  and  filling  if  the  weave  used  is  complete  on  8  ends  and 
8  picks? 

4.  Show  an  original  three-color  irregular  simple  color  effect. 

5.  Make  a  color  effect  with  the  16-end  regular  twill  VtVj,  the 
colors  to  be  arranged  in  both  warp  and  filling  4  white,  2  light  gray, 
2  dark  gray,  4  black,  2  dark  gray,  2  light  gray. 


24 


COLOR  IN  TEXTILE  DESIGNING 


§84 


COMPOUND  COLORINGS 


27.  A  compound  coloring  is  an  arrangement  of  colors 
obtained  by  combining  two  or  more  simple  colorings.  The 
effects  thus  produced  are  usually  quite  diversified  in  com¬ 
position,  the  degree  of  complication  varying  with  the  num¬ 
ber  of  simple  colorings  amalgamated  and  the  number  of 
colors  employed.  There  are  regular  and  irregular  compound 
colorings  similarly  as  with  simple  colorings.  A  regular 
compound  coloring  is  one  composed  of  two  or  more 
regular  simple  colorings,  while  an  irregular  compound 
coloring  is  composed  of  two  or  more  irregular  simple 
arrangements,  or  of  regular  and  irregular  simple  colorings. 
Compound  colorings  are  also  sometimes  classified  as  those 
composed  of  two  simple  arrangements,  those  composed  of 
three  simple  arrangements,  etc.  They  are  also  classified  as 
two-color,  three-color,  etc.  patterns,  as  was  the  case  with 
simple  colorings. 

It  is  not  necessary  to  give  examples  of  all  the  different 
types  and  styles  of  compound  patterns,  and,  in  fact,  from 
the  outline  of  the  numerous  types  given  above,  it  will  be 
seen  that  this  is  hardly  possible.  Some  of  the  most  common 
patterns  and  the  methods  of  obtaining  them  will  be  explained, 
however,  so  that  no  difficulty  will  be  experienced  in  making 
original  patterns  of  any  type  of  compound  coloring. 


REGULAR  COMPOUND  COLORINGS 


28.  In  Fig.  53,  a  compound  check  is  shown  made  with 
the  cassimere  twill  by  combining  2  and  2  and  1  and  1  simple 
colorings  in  both  warp  and  filling.  In  this  pattern,  the  warp 


is  arranged 


The  filling  is  arranged 


§84 


COLOR  IN  TEXTILE  DESIGNING 


25 


I  blackK  16  pickS 

It  will  be  noticed  that  there  are  four  distinct  effects  formed 
by  this  compound  order  of  coloring,  since  there  are  two 
simple  colorings  combined  in  both  warp  and  filling.  In  the 
upper  left-hand  corner,  the  effect  is  produced  by  a  2  and  2 
warping  crossed  by  a  1  and  1  picking;  in  the  lower  left-hand 
corner,  the  effect  is  produced  by  a  2  and  2  warping  and 


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Fig.  53 


picking;  in  the  upper  right-hand  corner,  the  effect  is  due  to 
a  1  and  1  warping  and  picking;  while  in  the  lower  right-hand 
corner,  the  effect  is  produced  by  a  1  and  1  warping  crossed 
by  a  2  and  2  order  of  picking.  This  pattern  is  suitable  for 
suiting,  overcoat,  or  dress-goods  fabrics. 

In  the  effect  given,  each  order  of  coloring  is  repeated  for 
only  16  ends  and  16  picks,  but  it  will  be  readily  understood  that 
the  check  may  be  made  larger  or  smaller  by  simply  repeating 
each  coloring  for  the  requisite  number  of  ends  and  picks 
The  checks  also  may  be  made  of  unequal  sizes,  and  it  is  unnec¬ 
essary  for  them  to  be  exactly  square  unless  it  is  so  desired. 


26 


COLOR  IN  TEXTILE  DESIGNING 


§84 


In  Fig.  54,  another  check  effect  is  shown,  which  combines 
three  simple  colorings  in  both  warp  and  filling.  In  this 
pattern  the  yarns  in  both  warp  and  filling  are  arranged 
1  black  I  .  .n  , 

1  white  J°r  threads 


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Fig.  m 


2  black  ^  threads 

2  white  J 

4  blackly  g  tjirea(js 
4  white  J 

2  black] .  ^  threads 

2  white  J 

The  weave  employed  in  Fig.  54  is  the  4-harness  cassimere 
twill,  and  the  effect  produced  makes  a  very  neat  check.  The 


§84 


COLOR  IN  TEXTILE  DESIGNING 


27 


size  of  the  pattern  is,  of  course,  dependent  on  the  number  of 
times  that  each  order  of  coloring  is  repeated.  The  com- 


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Fig.  55 


pound  stripe  shown  in  Fig.  55  is  made  with  the  same  warp 
coloring  and  weave  as  shown  in  Fig.  54,  but  with  black  filling 
yarn.  This  produces  quite  an  effective  and  strong  stripe. 


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Fig. 56 


29.  Fig.  56  shows  the  effect  of  a  compound  coloring  on 
a  special  weave  combination.  The  weave  used  is  shown  in 
Fig.  57,  and  the  colors  are  arranged  in  the  warp 


28 


COLOR  IN  TEXTILE  DESIGNING 


§8  I 


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Fig.  57 


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mn 


nmmnnnn 

nmmmmmn 

nmmmmmn 

nnnnmmnn 


ommnnnnm 

md~ 


nmmmmmn 

nnnnmmnn 


mmmnmmmm 

nmmnnnnm 


□■■■i 

□□□□s 


ID 

mn 


nnnnmnn 

mmmmmmn 

mmmmmmmm 

nnmmmnnn 

mnmmmmmn 

mnammmon 

mnnnnmnn 
wmmw 


mmmmmmmm 

nnmmmnnn 

mnmmmmmn 

□■■■■□□ 

nnnnmnn 


□□i 


immmmm 
immnnn  ■■ 


mnnn 


□□ 
nnnmnn 


Fig. 58 


§84 


COLOR  IN  TEXTILE  DESIGNING 


29 


J^lfor  16  ends 

1  black  J 

2  white 

4  black  Tor  16  ends 
2  white 

The  filling  pattern  is  as  follows: 

1  white 

2  black  for  16  picks 

1  white 

2  white 

4  black  for  16  picks 
2  white 

In  Fig.  58,  an  example  of  a  compound  coloring  with  three 
colors  is  shown.  The  warp  is  arranged 
1  black 

1  gray  ffor  18  ends 

1  white 

2  black 

2  gray  [Tor  12  ends 
2  white 

The  filling  of  this  pattern  is  arranged 
1  white 

•  1  black  Tor  18  picks 

1  gray 

2  white 

2  black  -for  12  picks 
2  gray 

The  weave  is  the  6-harness  twill  --3,  and  the  size  of  the 
check  is,  of  course,  regulated  according  to  the  number  of 
ends  and  picks  on  which  the  colorings  are  repeated. 

In  Fig.  58,  there  are  three  colors  used,  while  only  two 
orders  of  coloring  are  compounded;  but  in  Fig.  59,  an  effect 
is  shown  composed  of  three  colors  and  three  simple  orders 
of  coloring  and  with  the  same  weave.  The  warp  is  arranged 
1  black 

1  gray  Dor  24  ends 
1  white 


30 


COLOR  IN  TEXTILE  DESIGNING 


§84 


ammwwanm 

ammmmaam 

mmmamamm 

■■□■□■■■ 

mmmaammm 

mmmaaamm 

mamomma 

□■□■■HOB 

IBSaiSSc 

□■■■□■□■ 

aammmaaa 

ammmaaam 

mmmmaamm 

mmmmaams 

mmaaammm 

ieosiias 

mammmmmm 

maammmmm 

mammmmmm 

maaaamaa 

□□bbbbm 

ammmmamm 

mmmaaamm 

■■□■■■■■ 

ii 

ion 

mmmaammm 

sviiassB 

■■□□□®B® 

■■□Hun 

■■□□■■■s 

□□□□□□□□ 

■  ■■■□KHI 

aasmamaa 

aamaawam 

□□□□■aao 
aamaaaaa 
aamaaaaa 
aammmmaa 
aammmmaa 
amnuaua a 

aaamaaaa 

1BH9QBBB 

aaamaaaa 

maaaaama 

maaaaama 

mmmmaamm 

mmmmaamm 

mmmmammm 

mmmmaamm 

BBiBBBBB 

■■□□□□SB 

■□□□□□■□ 

□□□porno 

■■□ BlSkl 

BBBBHGDB 

□■BSBGGB 

□□□□■□□□ 

amaaaaam 

mmammmam 

■ 

mmmmamam 

aaaaamaa 

■■■■■■■■ 

□□■■□□□a 

maaaaamm 

maaaammm 

mmmmammm 

mmmaammm 

mmaaammm 

aaaaaaam 

aaaaaamm 

aaaaaamm 

□□□□■■an 

□□□■■■□□ 

mmaaammm 

maaammmm 

aaawmmm 

1011 

□in 

□od: 

□ODD 

1001 

1003 

IBBi 

amaaaanm 

BBiasea 

■IBIBQIB 

□□□■an □□ 
amomaaam 
umoaaauu 
ammmmaam 

aaaamaaa 

BBBQIQBB 

BB1QBBIB 

aamaaaaa 

aamaaaaa 

aanaamna 

aaaaamaa 

B9BGBillB 

■□BQBBBG 

maaaaama 

maaaaama 

maaaaama 

aaamaaaa 

aaamaaaa 

maammmma 

maaaaama 

■  ■■■■□SIS 
■■■■□□■■ 
aaamaaaa 

□oaaaona 

aammaaaa 

■■□□□□■■ 

aammmaaa 

■■■■□□■■ 

■■■  ■□■■ 
■■□□■■■■ 

■□□□BHHB 

mmaaaaaa 

mmaaamaa 

maaaamaa 

mmmaammm 

■■□□■■■■ 

aaaaaaam 

maaaaamm 

maaaammm 

maaaauma 

aaaaamaa 

□□■■■□□□ 

maaammmm 

maaaaamm 

aaaaaamm 

aaaaaama 

■■■■■■■■ 

□□□■■□□□ 

aaaaaaam 

aaaaaamm 

aammmamm 

aaaaaama 

bii: 

BBIG 

■□00 

!□□□ 

iDGD 

§□00 

lED 

■IDG 

aaaamaaa 

mmaammmm 

mmammamm 

amaaaaam 

ammmmaam 

ammmmaam, 

aaaamaaa 

HBGIOBBK 

aamaaaaa 

aammmmaa 

aaaaamaa 

□□□□■any 

aamaaaaa 

aamaaaaa 

maaaaama 

■■■□□■■■ 

aaamaaaa 

haammwa 

maaaaama 

maaaaama 

aaamaaaa 

aammaaaa 

■■□□□□■■ 

aammmaam 

amumaaam 

aaamaaaa 

aammaaaa 

amaaaaam 

mmammmam 

mmaammam 

maaaamaa 

mmmaammm 

■□□□■■■a 

mmaaaaaa 

aaaaamaa 

□□■■■□□□ 

maaammmm 

maammmmm 

maaaammm 

maaaamma 

□□□■■■□□ 

mmaaammm 

aaaaaaam 

aaaaaamm 

aammmamm 

ammmaamm 

■■■■■■■■ 

■■□■■■■■ 

□□DO 
30  03 
sell' 
so:: 

1RSD 

man 

■ODD 

1DDI 

□■□■□□□■ 
ana □□□■a 
ammmmaam 
a O003DBS 

■■■■□□■■ 
■■:  :■□■■■ 

□anaoooa 

■aomoaa 

□■□□□boh 

□□□□■aoo 

mmmaammm 

mmmaammm 

aamaaaaa 

aamaaaaa 

aaaaamaa 

aaaaamaa 

aaamaaaa 

aaamaaaa 

maammmma 

maammmma 

maaaaama 

□asagBSB 

aaamaaaa 

aaamaaaa 

aammaaaa 

aamaaaaa 

aammmaaa 

ammmaaam 

■■■□□□■■ 

aammaaaa 

aammaaaa 

aamaaaaa 

mmaaamaa 

maaaamaa 

mmmaammm 

mmaaammm 

■□□□■■■■ 

mmaaaaaa 

mmaaamaa 

^□□□■aoD 

aaaaamaa 

□□■■■□□□ 

maaammmm 

maammmmm 

maaaammm 

□■■■■□□■ 

aaaaamaa 

□□■■■□□□ 

aaaaaaam 

aaaaaamm 

aammmamm 

ammmaamm 

■■■■■■■a 

■■□■■■■■ 

aaaaaaam 

aaaaaamm 

■□DO 

■□□0 

■boo 

1600 

■□□□ 

moot 

0DCO 

@□00 

awwzmnam 

aaaam  :■■ 

aaaamaaa 

mmaammmm 

amaaaaam 

amaaaaam 

ammmmaam 

aaaamaaa 

mmmaammm 

■■□□■■■■ 

aamaaaaa 

aammmmaa 

aaaaamaa 

aaaaamaa 

mmmaammm 

■■□□■■■■ 

maaaaama 

maaaaama 

mmmmaamm 

■■■□□■■■ 

aaamaaaa 

maaaaama 

aammmaaa 

■■■■□□■a 

□□□aoonn 

mmmmammm 

■■□□■■■■ 

■■□□□□■■ 

HBBaaoaa 

■■■■□□■■ 

aaamaaaa 

mmmmammm 

aammaaaa 

mamaaomm 

aammmaaa 

■■■■□□■■ 

aaamaaaa 

mmmmammm 

■■□□■■■■ 

amaaaaaa 

aaoaaaoB 

mmaaamaa 

maaaamaa 

■■□□■■■■ 

amaaaaaa 

mmammmaa 

mmaaamaa 

maaaamaa 

mmmaammm 

■■□□■■■■ 

amaaaaaa 

maaammmm 

maaaaamm 

mmmmammm 

aaaaamaa 

□□■■■□□□ 

maaammmm 

maaaaamm 

maaaammm 

mmmmammm 

■■■■■□■■ 

□□■■■□□□ 

maaammmm 

iDBBBBiB 

aammmamm 

aaaaaama 

□□□■■■□□ 

mmaaammm 

aaaaaaam 

□□□□□□BH 

aaummamm 

'■■■■■  ■ 

□□□■■■□□ 

mmaaammm 

■□□■■■■□ 

aaaaaamm 

aammmamm 

□■■■■■□■ 

□□□■■■□□ 

mmaaammm 

■dog 

□□OQ 

■□os 

mu 

BDDQ 

mm 

□□□□ 

■□□B 

III 

■□00 

■■■0 

■BOD 

□□□□ 

■DOB 

□□□■aaoo 

am  :■■■■□ 

amaaaaam 

ammmmaam 

■■■■□  »u 

□□□■aaaa 

aamaaaaa 

aammmmaa 

aaaaamaa 

aaaaamaa 

mmmaammm 

aamaaaaa 

aamaaaaa 

□■aaaann 

maaaaama 

aaamaaaa 

aaamaaaa 

maammmma 

maaaaama 

maaaaama 

mmmmaamm 

amaaaaam 

amaaaaam 

ammmmaam 

aaaamaaa 

aaaamaaa 

mmaammmm 

■□□■■■■□ 

amaaaaam 

aaaaamaa 

aaaaamaa 

mmmaammm 

■■□□■■■■ 

aamaaaaa 

aammmmaa 

□■■■■□□■ 

aaaaamaa 

aaamaaaa 

aaamaaaa 

maammmma 

maaaaama 

maaaaama 

mmmmaamm 

aaamaaaa 

aaamaaaa 

aammaaaa 

aamaaaaa 

aammmaaa 

■■■■□□■■ 

aaamaaaa 

mmmmammm 

aammaaaa 

aamaaaaa 

0BHBBSOE 

maaaamaa 

■■□□■■■a 

amaaaaaa 

mmaaamaa 

maaaamaa 

■■■■■□■■ 

□□■■■□□□ 

maaammmm 

maaaaamm 

maaaammm 

mmmmammm 

■■■■■□■■ 

□□■■■□□□ 

■□□■■■■□ 

aaaaaamm 

aammmamm 

□■■■■■□■ 

□□□■■■□□ 

mmaaammm 

■□□■■■■□ 

aaaaaamm 

■DIB 

■□00 

§000 

■■00 

□000 

■□os 

■□BB 

jDjO 

Fio, 59 


84 


COLOR  IN  TEXTILE  DESIGNING 


31 


2  black 
2  gray 

2  white 
1  black 
1  gray 
1  white 

3  black 
3  gray 
3  white 

The  filling  is  arranged  as 
1  white 
1  black 

1  gray 

2  white 
2  black 

2  gray 
1  white 
1  black 
1  gray 

3  white 
3  black 
3  gray 


dor  12  ends 

•for  6  ends  . 

for  18  ends 
follows: 
for  24  picks 

for  12  picks 

for  6  picks 

for  18  picks 


IRREGULAR  COMPOUND  COLORINGS 

30.  The  compound  colorings  given  have  been  made  by 
compounding  regular  simple  colorings,  but  some  of  the  best 
compound  patterns  are  made  by  compounding  irregular  sim¬ 
ple  colorings  and  also  by  compounding  regular  simple  with 
irregular  simple  colorings.  In  the  latter  case,  it  may  be  said 
that  the  patterns  produced  are  generally  more  decided  and 
pronounced  than  when  two  or  more  regular  or  irregular 
colorings  are  combined.  Fig.  60  shows  an  irregular  com¬ 
pound  composed  of  regular  and  irregular  compound  color¬ 
ings.  The  weave  used  is  the  cassimere  twill,  and  the  warp 
is  arranged 


1  bl^Ck]for  24  ends 

2  white  J 


32 


COLOR  IN  TEXTILE  DESIGNING 


§84 


4  black 
2  white 


for  12  ends 


The  filling  is  arranged  on  the  same  system;  thus: 


BBBDBBBD 

BBDDBBDD 

SBBB&BBB 

BBBDBBBD 

BBDDBBDD 

BBDBBBDB 

BBBBBBBB 

□DBB 

BDDB 

BBBB 

BBBB 

□DBB 

BDDB 

BBBB 

BBBB 

BBBB 
BBBB 
BBDD 
DBB  J 
BBBB 
BBBB 
BBBB 
BBBBl 

□DBB 

BDDB 

BBBB 

BBBB 

BDDDBDDD 

□□□□□□□□ 

BBDBBBDB 

BiBBIBii 

iSBDBBBQ 

iiDDBBDD 

□bdddbdd 

BBDDBBDD 

BDDDBDDD 

□□□□□□□□ 

sbdhbbde 

BBBBBBBB 

BBBDBBBD 

BBDDBBDD 

□bdddbdd 

BBDDBBDn 

BDDDBDDD 

□□□□□□□□ 

BBDBBBDB 

BBBBBBBB 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BDDBDDDB 

□DBBDDBB 

BBBBBDBB 

BBBBDDBB 

■BBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

BDDD 

DDDD 

BBDB 

BBBB 

BBBD 

BBDD 

□  BDD 

BBDD 

BRBQBBBQ 

BBDDSBDD 

□BDDDBDD 

BKnDSBDD 

IBHDBBBD 

BBDDBBDD 

□BDDDBDD 

bbddebdd 

BBSD1IBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBBDBBB 

□BBDDDBD 

BBDDDDDD 

BBBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

BBBD 

□BDD 

BBDD 

BBBD 

BBDD 

□BDD 

BBDD 

IBIGBBBD 

■■□□BBGD 

□BDDDBDD 

BBBDBBBD 

BBDDBSOD 

□BDDDBDD 

BBDDBBDD 

9BBDSBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

BBBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

BBBD 

BBDD 

□  BDD 

BBDD 

BBBD 

BBDD 

□BDD 

BBDD 

BBBD 

BBDD 

□  BDD 

BBDD 

BBBD 

BBDD 

□BDD 

BBDD 

BGBBBGBB 

HBBBBBBH 

□DDBDDDB 

□□□□□□□□ 

BDBBBDBB 

BBBBBBBB 

□DDBDDDB 

□□□□□□□□ 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBDBBBD 

BBDDBBDD 

□BDDDBDD 

BBDDBBDD 

BBBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

BBBBDBBB 

BBBBBBBB 

□BBDDDBD 

BBDDDDDD 

Fig.  60 


Fig.  61  shows  a  very  neat  and  quiet  stripe  effect  produced 
with  the  cassimere  twill  by  warping  as  follows: 


§84 


COLOR  IN  TEXTILE  DESIGNING 


33 


□□□□□□□□ 

■■■■■abb 

MB  .BBB..B 

□□□□□□□□ 

■■■■■■■a 

BBDBBBDB 

HQI1HDBH 

BBBBBBBB 

□□□BDDDB 

□□□□□□□□ 

HDBBIDRB 

&BBIBBH® 

□□□BDDDB 

□□□□□□□□ 

■DBBBDBB 

BBBBBBBB 

□■BiDsaa 

□□□□□□□□ 

BDBBHQHH 

BBBBBBBB 

□RBIDRIS 

!□□□□□□□□ 

■□IBBQ9B 

□□□BDDDB 

□□□□□DDD 

BDBBHDHB 

BBBBBBBB 

□□□BDDDB 

□□□□□□□□ 

□□□□□□□□ 

BBBDRBID 

BBBBBBBB 

RiDBISDB 

□□□□□□□□ 

BRBDBHBD 

■HHRBBIB 

BBDBBBDB 

B  JIB  IB 
BBBBBBIB 

□□□■□□□■ 

□□□□□□□□ 

■□■■■□■■ 

BBBBlIBi 

□□□BDDDB 

□□□□□□□□ 

■□■■HDBB 

bbbhbbbb 

□□□BDDDB 

□□□□□□□□ 

■DBBBDBB 

BBBBBBBB 

□□□BDDDB 

□□□□□□□□ 

B  BBS.  :bb 
BBBBBBBB 

□  ■HBDBII9 
□□□□□□□□ 

BDBHBDBB 

HnneiBRis 

□BBBDBBB 

□□□□□□□□ 

aaiiSDBH 

BBRBHBli 

□□□aanaa 

□□□□□□□□ 

■□BHiDBB 

BBBBBBBB 

□□□Banna 

□□□□□□□□ 

BDRBSDBS 

BBBBBBBB 

□BBBDBBB 

□□□□□□□□ 

B  BBB  BB 

BBBBBBBB 

□BBBDBBB 

□□□□□□□□ 

Fig.  61 


BB  BflBB 

BBBDDBRI 

□□□□□□□□ 

BBBDBDBB 

BBBB  BBS 

□BDDDDDB 

■■□□■■■■ 

BBBDDBBB 

■□□□□□■□ 

■■■□■■■■ 

■■□■□■BB 

□□□□□□□□ 

■■■□□■■■ 

■■■■□□■■ 

■□□□□□■□ 

■■■□BBBB 

■□■■□■BD 

SDBBBBBD 

■□■□□■■a 

□□□□□■□□ 

■□□■□□■a 

□□■■□■□□ 

■□■■□■■a 

RDBBBSHD 

BBDDBBSBH 

■■■□□■■■ 

□□□□□□□□ 

■□□□□□■□ 

HHDDDD0B 

■■□■■□■■ 

■■□□■■■■ 

BBBDDBBB 

■■□□□□BB 

□BDDDDDB 

BBDDBBB9 

■■■□□■■■ 

□□□□□□□□ 

BDDDDDBD 

■■□□□□BB 

■■□BBDBB 

□□□□□□□□ 

BDDDDDBD 

BBDDDDBB 

□■□□□□□■ 

■■□□■■■■ 

■■■□□■■■ 

□□□□□□□□ 

■□□□□□■□ 

■DDBBDBD 

□DDBDDDD 

□■□□■□□■ 

■■□■□□BB 

■■□■■□■■ 

■■■■■□■sa 

■■■■■■■■ 

□□□■□□□□ 

□■■□■□□■ 

□■□□□□□■ 

□□■□□■□□ 

□■□□■■□■ 

□■■□■■□■ 

■■■□■■■■ 

■■■■■■■■ 

□■□□□□□■ 

□□□□□□■a 

■□■□■■■a 

■■□■■■■■ 

□□□□□■■□ 

□DBBBBBD 

■□□■HBBD 

□□□□□□■□ 

■□■□■■■□ 

□DBRHHSD 

BDDBBBBD 

□□□□□□■□ 

□□□□BDDD 

□□□□■■□□ 

□BBDBBBB 

□□■■BflBD 

RDDRHIH] 

■iRHDHBa 

□□■■□□□□ 

□DDBDDDD 

□BDDDDDD 

DBBBBDDB 

□■■■BBDD 

□BHaaaDD 

□□■Banna 

□□■□□□□□ 

□□□□□□□□ 

□DDBDDDD 

□DBBDDDD 

■DBBDBBD 

□□■■■■□□ 

DBBBBDDB 

□□□□□□□□ 

■■■■■□■■ 

□■■■■□□■ 

□□□□■□□□ 

■□■■■□■□ 

□■■■■■□a 

□□□■■□□□ 

■■■■■□■■ 

□■■■■□□■ 

□□■□□■□□ 

□■□□■■□■ 

□■■□■■□■ 

■BBDBBBB 

■■■■■■■■ 

□■□□□□□■ 

□□■□□■□□ 

□■□□■■□■ 

■□□■□□■□ 

□□■■□■□□ 

■DBBDBBD 

■□■■■■■a 

■■■■■■■■ 

□□□□□■□□ 

■□□■□□■□ 

□□■■□■□□ 

■HHB1DBI 

□BiiiDDS 

□□□□■□□□ 

□□■□□□□□ 

□DBBDDDD 

■□BiiHBD 

SRIBRD9H 

DBBBBDDB 

□DBBDDDD 

□□□BBDDD 

BBBBBDBB 

□BBS0DDE 

□□□□■□□□ 

□□■□□□□□ 

□DBBDDDD 

■DBBBBBD 

□□□□BDDD 

□□■□□□□□ 

□DBBDDDD 

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Fig. 62 


92—30 


84 


COLOR  IN  TEXTILE  DESIGNING 


§84 


The  filling  is  arranged  in  this  effect,  2  white  and  2  black. 
An  irregular  compound  arrangement  of  colors  is  used  to 
produce  the  pattern  shown  in  Fig.  62,  consisting  of  an  amal- 


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an 

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DBBBDDDD 

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DDSBBDBB 

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DDDHHUDD 

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DDDDDODD 

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amaaaaaa 

mmaaaaaa 

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mmaammma 

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BBBBOGDB 

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DBBBDDOD 

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mmaammma 

BBDBBBBD 

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DDBBDDDD 

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DBBBBDDB 

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BBBBBBIB 

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mmmmmaaa 

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BBBBBODD 

BBBBBBDB 

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BBBBBBBB 

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BBBBBBBB 

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BBBBBBBD 

BBBBBBBB 

BBBDBBBB 

BBDDBBBB 

BBDDBBBD 

BBDBBBBD 

BBBBBBBD 

BBBBBBBB 

PiG.  63 


gamation  of  three  simple  colorings.  The  weave  used  is  the 
regular  twill,  and  the  yarns  are  arranged  in  the  warp 

2  black  1  en(js 

1  white  J 

3  b,ack  1  12  ends 

3  white  J 

2  black  1  0 

.  ,  .  tfor  12  ends 

4  white  J 


§84 


COLOR  IN  TEXTILE  DESIGNING 


35 


The  filling  is  arranged  as  follows: 


Fig.  63  shows  a  compound  pattern  of  irregular  nature 
obtained  by  the  use  of  three  colors.  The  yarns  are  arranged 
in  the  warp  as  follows: 


6  black 

4  gray  [for  36  ends 
2  white 


The  filling  is  placed  in  the  cloth  in  the  same  order  as  the 
warp,  and  the  weave  employed  is  the  6-harness  regular 
twill  --3. 


EXAMPLES  FOR  PRACTICE 


1.  Make  an  original  compound  check  effect  by  combining  two  sim¬ 
ple  orders  of  coloring.  Give  warp  and  filling  patterns. 

2.  Make  a  compound  stripe  effect  with  the  warp  prunelle  twill,  the 
warp  to  be  arranged 


|  for  48  ends 
>for  24  ends 


2  black 
1  white 
4  black 
4  white 


The  filling  is  to  be  arranged  1  white,  2  black. 

3.  Make  an  original  compound  stripe  effect  combining  two  simple 
colorings.  Give  warp  and  filling  patterns. 

4.  Show  the  effect  obtained  with  the  regular  twill  by  warping 
and  picking  as  follows: 


Warp  Pattern 


2 

2 

4 

4 


36 


COLOR  IN  TEXTILE  DESIGNING 


84 


Filling  Pattern 


2  white  1  oo  •  i 

2black)for32  plcks 

*  "hit')for  16  picks 
4  black  J  r 


5.  Make  an  original  compound  stripe  effect  employing  two  regular 
and  one  irregular  simple  coloring  in  the  warp.  Give  warping  and 
picking  plans. 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  3) 


STRIPES,  CHECKS,  AND  SPOTS 


STRIPES 

1.  Introduction. — The  term  stripe  is  used  in  textile 
designing  to  indicate  the  effect  produced  in  a  fabric  by  sev¬ 
eral  bands,  or  lines  (usually,  but  not  necessarily,  of  differ¬ 
ent  colors)  running  in  the  direction  of  the  warp,  or  from  end 
to  end,  of  the  piece  of  cloth.  When  the  effect  runs  across 
the  cloth,  from  selvage  to  selvage,  it  is  known  as  a  bar  effect 
and  is  not  designated  by  the  term  stripe  unless  definitely 
indicated  as  a  stripe  across  the  cloth.  As  a  general  rule,  bar 
effects,  or  (as  they  are  sometimes  called)  barry  cloths,  are 
not  satisfactory  patterns  and  are  rarely  manufactured.  Stripes 
are  especially  adapted  to  trouserings  and  fancy  shirtings,  and 
to  a  less  extent  to  certain  classes  of  dress  goods.  In  suit¬ 
ings,  they  are  not  very  much  in  demand,  although  certain 
styles  have  been  found  to  take  well.  Generally  speaking, 
the  style  of  a  stripe  is  governed  by  the  character  of  the  fabric 
to  which  it  is  applied;  thus,  for  a  trousering  pattern,  small, 
neat,  irregular  stripes  are  in  vogue,  while  for  shirtings  more 
prominent  effects  with  stronger  colorings  are  in  demand. 
The  very  broad  stripes  of  pronounced  coloring  are  limited  to 
tickings  and  awning  ducks,  while  broad  stripes  of  not  very 

Copyrighted,  by  International  Textbook  Company.  Entered  at  Stationers'  Hall,  London 


2 


COLOR  IN  TEXTILE  DESIGNING 


§85 


pronounced  coloring  are  met  with  in  some  styles  of  dress 
goods.  The  majority  of  stripe  patterns  are  due  to  warp 
coloring  alone,  the  weave  bringing  the  colored  warp  ends  to 
the  surface  in  suitable  proportions,  while  the  filling  is  gener¬ 
ally  of  some  solid  color  chosen  with  a  view  of  either  toning 
down  or  accentuating  the  colors  of  the  warp  pattern.  The 
number  of  patterns  that  can  be  made,  even  if  only  two  colors 
are  used,  is  without  limit,  since  the  width  of  the  stripe  may 
be  varied  from  the  width  of  a  single  thread  to  stripes  several 
inches  in  breadth  if  it  is  desire^,  and  again,  broad  and  narrow 
stripes  may  be  grouped  in  various  ways,  each  new  arrange¬ 
ment  of  the  warp  yarns  forming  a  new  pattern. 

The  scope  and  range  of  stripe  patterns,  together  with  the 
methods  of  their  production,  are  so  varied  that  great  difficulty 
is  experienced  in  grouping  the  different  effects  under  appro¬ 
priate  heads.  Still  it  is  possible  to  make  two  general  divi¬ 
sions  of  the  various  stripe  patterns  due  to  warp  coloring 
alone;  namely,  regular  and  irregular  stripes.  In  the  former 
class  may  be  included  those  patterns  in  which  the  bands  of 
color,  without  regard  to  the  number  of  colors  used,  are  of 
equal  widths.  In  irregular  stripes,  the  size  and  arrangement 
of  the  stripes  vary  to  a  great  extent.  Both  regular- and 
irregular-stripe  patterns  are  very  useful  in  textile  designing 
and  very  appropriate  for  certain  classes  of  goods. 


REGULAR  STRIPES  DUE  TO  WARP  COLORING  ONLY 

2.  Two-Color  Stripes. — As  in  regular  stripe  patterns 
the  lines  of  color  must  be  of  the  same  width,  the  scope 
of  designs  is  somewhat  limited  in  two-color  patterns,  the 
only  leeway  the  designer  has  being  in  the  choice  of  har¬ 
monious  colors  and  in  obtaining  a  suitable  width  of  stripe 
for  the  class  of  goods  desired.  These  are  the  most 
elementary  stripe  patterns  and,  in  fact,  the  simplest  color 
effects  possible  to  make.  Regular  two-color  stripes  are 
employed  in  cotton  shirtings,  ginghams,  and  tickings  to  a 
large  extent,  but  they  find  only  a  limited  use  in  the  woolen  and 
worsted  branches  of  the  textile  industry.  In  order  to  make 


92  §85 


§85 


COLOR  IN  TEXTILE  DESIGNING 


3 


good-selling  patterns  on  this  system,  great  care  must  be 
taken  to  have  the  effect  suitable  for  the  character  of  the 
goods  and  uses  to  which  they  are  put. 

For  instance,  a  neat  gingham  stripe  can  be  made  by 
arranging  the  warp  16  ends  of  white  and  16  ends  of  green 
and  using  white  filling.  This  will  make  each  stripe,  in  a 
texture  suitable  for  ginghams,  about  inch  in  width.  The 
appearance  of  this  pattern  in  the  cloth  is  shown  in  Fig.  1, 
the  weave  used  being  plain.  On  the  other  hand,  a  stripe  for 
awning  cloth  might  be  arranged  80  ends  of  orange  and 
80  ends  of  white  in  the  warp,  and  the  filling  all  white.  This 
will  make  each  stripe,  in  a  texture  suitable  for  this  kind  ofcloth, 
about  2  inches  in  width.  It  is  always  necessary  to  consider 
the  adaptability  of  the  fabric  to  the  purpose  for  which  it  is 
designed.  Regular  two-color  stripes,  being  of  such  simple 
construction,  are  generally  woven  with  simple  weaves,  as 
the  plain  weave  and  3-  and  4-harness  regular  twills. 

The  color  of  the  filling  always  alters  the  color  of  one  of  the 
stripes  when  using  weaves  of  this  description,  since  the  filling 
floats  on  the  face  of  the  goods  in  both  stripes  and,  as  in 
this  class  of  goods  the  filling  is  generally  of  the  same 
color  as  one  of  the  stripes,  that  stripe  will  be  of  a  solid 
color,  while  the  other  will  be  of  a  color  resulting  from  the 
mingling  of  its  own  color  with  that  of  the  filling. 

3.  Three-,  or  More,  Color  Stripes. — Regular  stripes  in 
three  or  more  colors,  while  requiring  somewhat  more  skill 
in  arranging  the  colors  harmoniously,  are  very  similar  to 
two-color  stripes.  Since  the  weaves  used  are  of  the  simplest 
types,  as  with  two-color  stripes,  no  great  amount  of  technical 
skill  is  required  in  the  production  of  patterns  of  this  class. 
Yet,  as  more  colors  are  used  in  the  construction  of  three-,  or 
more,  color  stripes,  it  is  evident  that  the  patterns  produced 
are  somewhat  more  complicated,  and  the  designer,  while  not 
varying  the  width  of  the  stripes,  may  use  considerable 
ingenuity  in  selecting  and  grouping  colors.  For  instance, 
suppose  that  it  is  desired  to  get  the  effect  of  a  red  and  a  green 
stripe  on  a  white  ground  and  yet  have  a  regular  stripe 


4 


COLOR  IN  TEXTILE  DESIGNING 


§85 


pattern.  If  the  stripe  is  arranged  so  that  there  will  be  a 
white  stripe  on  each  side  of  both  the  red  and  the  green  stripes 
there  will  be  twice  as  much  white  in  the  pattern  as  either 
red  or  green;  this  will  give  the  effect  of  a  white  ground  and 
yet  the  pattern  will  be  a  regular  stripe.  This  pattern  is  shown 
in  Fig.  2  as  it  would  appear  in  the  cloth,  being  woven  with 
the  4-harness  twill. 

Many  groupings  of  colors  can  be  made  with  regular 
stripes,  yet,  in  general,  it  may  be  said  that  the  patterns 
produced  are  apt  to  be  stiff  and  bold  and  the  effect  rather 
set.  In  certain  fabrics,  however,  regular  stripes  are  useful. 

4.  Regular  Shaded  Stripes. — Shaded  stripes  may  be 
produced  in  regular  stripes  by  using  different  shades  and 
tints  of  a  color  or  colors.  The  pattern  may  be  arranged  to 
vary  from  a  light  tint  to  a  dark  shade  and  back  again, 
if  desired,  simply  by  employing  varying  tones  of  color 
and  arranging  them  properly  in  the  warp.  For  instance, 
the  following  arrangement  of  colors  will  produce  a  stripe 
shading  from  light  to  dark,  and  back  again  to  light:  Warp, 
4  white,  4  light  gray,  4  medium  gray,  4  dark  gray,  4  black, 
4  dark  gray,  4  medium  gray,  4  light  gray;  filling,  either 
white,  black,  or  medium  gray.  The  color  of  the  filling  will, 
of  course,  alter  the  tone  of  the  stripe  somewhat,  since  white 
filling  will  lighten  all  the  portions  of  the  stripe  except  the 
white  ones,  while  black  filling  will  darken  all  but  the  black 
portions  of  the  stripe.  Medium-gray  filling  will  both  darken 
the  lighter  stripes  and  lighten  the  darker  stripes. 

IRREGULAR  STRIPES  DUE  TO  WARP  COLORING  ONEX 

5.  Two-Color  Stripes. — In  irregular  stripes,  the  widest 
scope  is  allowed  in  the  choice  of  patterns  and  even  with 
only  two  colors  at  his  command  a  skilful  designer  will  be 
able  to  produce  an  almost  unlimited  number  of  patterns. 
Irregular  stripes  due  to  warp  coloring  only  are  produced 
with  simple  weaves,  as  in  the  case  of  regular  stripes.  In 
Fig.  3,  an  irregular  stripe  in  two  colors  is  shown.  This 
is  a  pattern  suitable  for  suitings  or  trouserings,  the  warp 


92  S  85 


§85 


COLOR  IN  TEXTILE  DESIGNING 


5 


pattern  being  21  dark  blue,  1  white,  1  dark  blue,  1  white, 
and  the  filling  all  blue.  If  a  less  pronounced  stripe  effect 
were  desired  in  this  pattern,  only  one  white  thread  might 
be  used  instead  of  two,  or  blue-and-white  twist  yarns  used 
instead  of  pure  white.  The  weave  in  this  pattern  is  the 
cassimere  twill.  One  example  is  sufficient  to  represent  this 
type  of  stripe  design,  since  it  will  be  understood  that  the 
choice  of  two  colors  and  their  arrangement  and  quantity 
offer  such  chances  for  variation  that  many  styles  are  obtained. 

6.  Shaded  Irregular  Stripes. — Shaded  effects  are 
usually  produced  in  irregular  stripes  by  means  of  two  colors 
only,  the  shading  being  obtained  by  altering  the  quantities 
of  color  used  instead  of  changing  the  tone  of  the  color,  as 
is  necessary  in  shaded  stripes  made  on  the  regular  system. 
In  Fig.  4,  a  shaded  blue  and  white  irregular  stripe  is 
shown,  which  will  serve  to  illustrate  one  method  of  obtaining 
a  shaded  stripe  on  this  principle.  The  filling  is  all  white 
and  the  weave  is  the  warp  prunelle.  The  yarns  are  arranged 
in  the  warp  as  follows: 


Total  number  of  ends  in  pattern . 178 


7.  Three-,  or  More,  Color  Strijies. — Irregular  stripes 
in  three  or  more  colors  are  made  in  all  classes  of  textiles  in 
a  great  variety  of  forms  and  colorings.  Stripes  of  this  type  are 
found  in  trouserings,  ginghams,  tickings,  and,  in  fact,  in  practi¬ 
cally  all  cloths  where  a  stripe  pattern  is  requisite  or  desirable. 
Care  must  be  taken  in  designing  stripes  of  this  type  to  have 
the  character  of  the  stripe  and  the  coloring  suitable  for  the 
use  to  which  the  fabric  is  to  be  put;  thus,  stripes  for  trouser¬ 
ings  should  be  small  and  neat  and  the  colors  soft,  mellow, 
and  perfectly  harmonized,  while  bed  ticking  can  be  made 
with  larger  and  bolder  stripes  and  with  the  coloring  stronger 
and  more  pronounced.  In  order  to  tone  down  the  effect  of 


6 


COLOR  IN  TEXTILE  DESIGNING 


§85 


stripe  patterns  in  trouserings,  dark  fillings  are  generally  used, 
black,  various  shades  of  slate  and  blue,  and  occasionally 
brown  shades  being  preferred  in  the  majority  of  cases.  In 
Fig.  5,  a  trousering  pattern  is  shown  that  illustrates  this  class 
of  stripes.  This  pattern  is  made  with  the  cassimere  twill,  the 
filling  being  black  and  the  warp  arranged  as  follows: 


One  more  illustration  is  given  of  a  stripe  pattern  designed 
on  this  system  in  Fig.  6.  This  is  a  pattern  suitable  for 
ladies’  dress  goods  or  other  cloths  of  like  nature  and 
furnishes,  another  example  of  the  wide  diversity  of  patterns 
possible  with  stripes  of  this  type.  The  filling  in  this  pattern 
is  white  and  the  warp  is  arranged  as  follows: 


Drab . 

8 

8 

2 

8 

8 

2 

36 

Scarlet . 

2 

2 

Brown . 

2 

2 

2 

2 

8 

Yellow . 

2 

2 

Total  number  of  ends  in  pattern .  48 


STRIPES  DUE  TO  WARP  AND  FILLING  COLORING 

8.  It  may  be  said  that  stripes  due  to  warp  and  filling 
colorings  may  depend,  in  practically  every  case,  on  a  suitable 
weave  and  a  correct  arrangement  of  the  colors  in  the  filling 


Fig.  5 


92  §85 


§85 


COLOR  IN  TEXTILE  DESIGNING 


7 


for  the  production  of  a  stripe  effect.  That  this  is  true  will 
be  readily  understood  by  remembering  that  the  weave  and 
the  arrangement  of  color  in  the  filling  must  be  such  that  the 
filling  color  will  cover  the  warp  color  when  the  latter  is  down, 
thus  producing  a  lined  effect  in  the  direction  of  the  warp. 

Strictly  speaking,  a  true  hair-line  stripe  is  produced 
with  the  double  plain  weave,  since  the  stripes  made  with 
these  weaves  are  better  defined  and  the  cloths  are  reversible, 
showing  the  same  pattern  on  each  side.  However,  small 
stripes  known  as  hair  lines  are  made  in  single  cloths  with 
certain  simple  weaves.  Hair  lines  are  the  smallest  stripes 
produced  and  are  usually  the  width  of  a  single  warp  thread 
only,  although  narrow  striped  patterns  having  stripes  two 
or  more  threads  in  width  are  commonly  given  this  term. 

9.  Two-Color  Hair  Lines. — These  stripes  are  pro¬ 
duced  with  the  plain  weave  in  both  fine  and  coarse  cloth  and 
in  cotton,  woolen,  and  worsted  textures.  They  are  made 
with  any  two  appropriate  colors,  warped  and  picked  one  and 
one  in  such  a  manner  that  each  pick  of  filling  will  cover  its 
own  warp  color  when  the  latter  is  down.  By  arranging  the 
filling  in  stripe  effects  that  are  woven  with  the  plain  weave 
so  that  the  filling  covers  the  other  color  of  warp  when  it  is 
down,  bars,  or  stripes  running  from  selvage  to  selvage,  are 
produced,  but  these  are  not  classed  as  hair  lines  and  are 
rarely  made  except  in  connection  with  some  other  effects. 

Stripes  similar  to  those  produced  with  the  plain  weave 
may  be  made  with  the  4-harness  basket  weave,  except  that 
the  stripes  produced  are  two  threads  in  width  instead  of  one. 
The  warp  is  arranged  two  and  two  with  any  suitable  colors 
and  the  filling  arranged  in  the  same  manner  so  that  color 
will  cover  color;  that  is,  if  the  effect  desired  is  lengthwise 
of  the  cloth. 

10.  Three-,  or  More,  Color  Hair  Lines. — These  are 
produced  on  the  same  principle  as  two-color  hair  lines 
except  that  warp-flush  prunelle,  crow,  broken  crow,  and 
other  small  weaves  are  used,  a  weave  being  selected  that  is 
complete  on  the  same  number  of  ends  as  there  are  colors, 


8 


COLOR  IN  TEXTILE  DESIGNING 


85 


The  warp  and  filling  patterns  may  be  arranged  one  and  one 
with  any  suitable  colors,  but,  as  in  two-color  hair  lines,  care 
should  be  taken  to  have  filling  color  cover  warp  color  when 
the  warp  is  down.  Fig.  7  shows  a  four-color  hair  line  made 
with  the  warp-flush  broken-crow  weave;  the  colors  are 
arranged  in  the  warp  one  of  white,  one  of  light 
gray,  one  of  dark  gray,  one  of  black;  and  in 
the  filling,  one  of  white,  one  of  light  gray,  one 
of  black,  one  of  dark  gray. 

11.  Many  stripe  effects  other  than  the  hair 
lines  may  be  obtained  by  the  combination  of 
simple  warping  and  picking  plans,  together  with  a  simple 
weave.  One  of  these,  shown  in  Fig.  8,  is  made  with  the  cassi- 
mere  twill,  the  warp  being  arranged  2  black  and  2  white  and 
the  filling  2  white  and  2  black.  By  altering  either  the  warp 
or  the  filling  pattern  in  this  stripe,  the  effect  can  be  made 
to  run  in  the  opposite  direction,  or  from  selvage  to  selvage. 


Fig.  7 


BDBBBDBB 

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DDDBDDDB 

□□□□□□□□ 

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n  jib:  .be 

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DDDBDDDB 

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BDDDBDDD 

BBDBBBDB 

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BDDDBDDD 

BBBBBBBB 

BBDBBBDB 

Fig.  8 


BBBDBBDD 

■BDBBBDD 

□BDDBBDD 

BODDBBDD 

BBDDBBBD 

BBDDBBDB 

BBDDDBDD 

HBDDBDDD 

BBBDBBDD 

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DBDDBBDD 

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DDDDDDBO 

BDBBBBBB 

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ODBDDDDO 

BBBDBBDD 

BBDBBBDD 

DBDDBBDD 

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Fig.  9 


A  similar  stripe  to  that  shown  in  Fig.  8  is  shown  in  Fig.  9. 
This  is  obtained  with  the  8-harness  twilled  basket  weave 
by  arranging  the  warp  2  black  and  2  white  and  the  filling 
2  white  and  2  black.  Many  stripe  effects  can  be  made  on 
the  same  principle  as  Figs.  8  and  9  by  using  a  little  ingenuity 
in  color  arrangement. 

12.  Compound  Stripes. — Fig.  10  shows  a  fancy  stripe 
pattern  made  on  the  simple  hair-line  principle  with  the  plain 
weave.  As  shown,  the  stripe  consists  of  bands  in  which  the 


85 


COLOR  IN  TEXTILE  DESIGNING 


9 


hair-line  effect  runs  warp  way  alternating  with  bands  in  which 
the  stripe  runs  filling  way,  thus  forming  a  broad  stripe 
effect.  The  effect  is  produced  by  simply  varying  the  warp¬ 
ing  plan,  which,  in  Fig.  10,  is  as  follows: 


The  filling  is  arranged  1  black,  1  white.  The  width  of  the 
stripes  may,  of  course,  be  varied  at  will  by  altering  the  warp 
pattern  at  the  point  where  it  is  desired  to  change  the  effect. 


;□□□□□□□□ 

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Fig.  10 


Another  stripe  of  this  class  is  shown  in  Fig.  11,  being  made 
with  the  cassimere  twill  instead  of  the  plain  weave.  The 
warp  pattern  is  as  follows: 


4  white 


The  filling  is  arranged  2  white,  2  black. 

Another  stripe  pattern  is  shown  in  Fig.  12;  this  also  is 
based  on  the  cassimere  weave.  It  will  be  seen  that  in  the 
pattern  the  warp  is  arranged  on  a  combination  of  the  two 
and  two  and  the  one  and  one  system,  while  the  filling  is 


10 


COLOR  IN  TEXTILE  DESIGNING 


§85 


DDDDDDDD 

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dbbdbbbd 

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DBBDBBBD 

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BBDDBBBB 

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Pig. 


§85 


COLOR  IN  TEXTILE  DESIGNING 


11 


arranged  on  the  two 


The  warp  is 


□□□■■□□□ 

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aaaanaa 

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a .  aaBHD 
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aamaaa 

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□□□■■□□ 

□■□□□□a 

□□□■□□□ 

■□□□□■□ 

□□■□□□□ 

□□□□■□□ 

□□■■□□□a 

■□□□■■□□ 

□■■□□□■a 

□□□□■□□□ 

□■□□□□an 

□□□■□□□□ 

■□□□□■□□ 

□□■□□□□a 

and  two  system  only, 
arranged  as  follows: 

2  black  1 

n  ,  .  Ifor  12  ends 

2  white  J 

1  bl*Ck)for  12  ends 

1  white  J 

The  filling  is  arranged  2  white, 
2  black. 

The  examples  given  of  stripe  pat¬ 
terns,  due  to  warp  and  filling  color¬ 
ing  combined  with  a  simple  weave, 
are  sufficient  to  explain  the  method 
of  forming  this  class  of  stripes,  and 
it  will  readily  be  seen  that  with  some 
ingenuity  on  the  part  of  the  designer 
1  an  unlimited  number  of  stripes  may 
3  be  produced  in  this  manner. 


STRIPES 


DUE  TO  THE 
ALONE 


WEAVE 


13.  Many  stripe  patterns  are 
due  to  the  weave  alone  without  the 
use  of  colored  yarns  for  warp  or 
filling  patterns  and  without  using 
differently  colored  warp  and  filling. 
A  good  example  of  this  method  of 
producing  stripes  is  found  in  the 
satin  stripes  so  common  in  the  cot¬ 
ton  trade.  These  stripes  are  made 
by  simply  combining  warp-  and  fill¬ 
ing-flush  satin  weaves  or  warp-flush 
satins  with  the  plain  weave.  Warp- 
flush  and  filling-flush  twills  and  warp-flush  twills  and  plain 
weaves  are  also  combined  in  this  manner.  Although  a  great 
number  of  stripe  weaves  are  woven  all  one  color,  there  are 
many  patterns  that,  in  addition  to  the  weave  design,  use  col¬ 
ored  yarns  in  the  warp  either  on  the  regular  or  on  the  irregular 


12 


COLOR  IN  TEXTILE  DESIGNING 


§85 


system.  Often  these  weaves  are  woven  with  a  warp  of  one 
solid  color  and  a  filling  of  another,  thus  accentuating  the 
weave  effect. 

14.  Shaded  Stripes. — Shaded  stripes  due  to  the  weave 
effect  alone  are  made  with  a  shaded-stripe  weave  and  woven 
with  a  warp  of  one  solid  color  and  a  filling  of  a  different  color. 
Fig.  13  shows  two  repeats  in  the  ends  of  a  shaded-stripe  weave 
made  on  a  5-end  satin  basis  and  shaded  from  light  to  dark 
and  back  again  to  light.  For  the  first  5  ends,  the  weave  is  the 
5-end  filling-flush  satin;  the  next  5  ends,  the  5-end  satin  with 
one  riser  added  to  each  of  the  satin  risers;  the  next  5  ends 
have  two  risers  added;  and  the  next,  three;  whereupon  the 
weave  grades  back  to  light  again.  If  this  weave  were  woven 
with  a  black  warp  and  a  white  filling,  the  color  effect  in  the 
cloth  would  be  exactly  the  same  as  the  weave  in  Fig.  13. 


EXAMPLES  FOR  PRACTICE 

1.  Give  a  warp  and  filling  arrangement  for  a  regular  three-color 
stripe. 

2.  Show  the  effect  on  16  ends  and  16  picks  obtained  by  warping  the 
cassimere  twill  2  white,  2  black  and  using  solid  black  filling. 

3.  Give  a  warp  pattern  for  an  irregular  stripe  in  four  colors  and 
state  for  what  kind  of  a  fabric  it  would  be  suitable. 

4.  Give  warp  patterns  for  two  shaded  stripes,  one  made  on  the 
regular  and  one  on  the  irregular  system. 

5.  Make  a  weave  that,  if  woven  with  a  black  warp  and  a  white 
filling,  will  produce  a  shaded  stripe. 


CHECKS 

15.  Introduction. — A  check  may  be  said  to  be  the 
effect  produced  in  a  fabric  by  several  bands  or  lines,  usually, 
but  not  necessarily,  of  different  colors,  running  in  the 
direction  of  the  warp  and  crossed  at  right  angles  by  similar 
bands  running  in  the  direction  of  the  filling.  In-the  great 
majority  of  cases,  checks  are  produced  by  crossing  a  colored 
warp  pattern  with  a  colored  filling  pattern  and  generally, 


85 


COLOR  IN  TEXTILE  DESIGNING 


13 


although  not  always,  the  filling  pattern  is  the  same  as  the 
warp  pattern.  The  pattern  may  be  of  the  very  simplest  con¬ 
struction,  being  complete  on  a  few  ends  and  picks  and  with 
only  two  colors,  or  it  may  be  very  complicated  and  require 
many  ends  and  picks  and  many  colors.  Checking  may  be 
applied  to  almost  any  class  of  fabric  and  in  silks,  cottons, 
linens,  woolens,  and  worsteds  it  is  a  standard  method  of 
applying  color.  Check  designs  that  are  in  any  way  compli¬ 
cated  in  composition  are  most  generally  known  as  plaids 
when  woven  in  woolen,  worsted,  or  silk.  In  the  cotton 
trade,  the  term  gingham  generally  implies  a  check  effect 
unless  a  striped  gingham  is  especially  designated. 

16.  Although  there  are  many  systems  of  forming  check 
patterns  and  the  number  of  patterns  that  may  be  produced  is 
without  limit,  there  are  certain  elements  that  govern  all 
check  patterns: 

1.  In  order  to  produce  a  perfect  and  regular  check,  the 
filling  pattern  should  be  the  same  as  the  warp  pattern,  pro¬ 
vided  that  the  fabric  is  squarely  built,  that  is,  with  approxi¬ 
mately  as  many  picks  as  ends  per  inch.  If  there  are  less 
picks  than  ends  per  inch  in  the  fabric,  the  number  of  picks  of 
each  color  in  the  filling  pattern  should  be  correspondingly 
reduced  so  as  to  keep  the  bands  of  color  in  the  filling  of  approxi¬ 
mately  the  same  width  as  those  in  the  warp,  thus  making 
the  checks  square.  In  this  connection  it  may  be  noted, 
however,  that  many  patterns  having  a  slightly  greater  length 
than  width  make  a  better  appearance  than  when  exactly 
square,  since  a  check  that  is  actually  square  often  appears 
broader  than  it  really  is.  This  applies  more  to  large 
check  patterns  than  to  small  ones.  The  difference  in  the 
length  and  width  of  a  check  pattern  should  never  be  excessive, 
but  when  a  difference  does  exist,  the  pattern  should  have  a 
greater  length  than  width. 

2.  If  the  check  is  to  be  a  perfect  one,  the  weave  used 
should  be  such  that  the  warp  and  filling  will  be  equally  flushed 
at  regular  distances  on  the  face  of  the  fabric.  The  reason 
for  this  is  that  if  a  warp-flush  weave  is  used,  the  warp  pattern 


92—31 


14 


COLOR  IN  TEXTILE  DESIGNING 


85 


will  show  much  more  prominently  on  the  face  of  the  goods 
in  proportion  to  the  amount  of  the  warp  on  the  face  and, 
vice  versa,  if  the  weave  is  a  filling-flush,  the  filling  pattern 
will  show  more  prominently  than  the  warp.  It  is  because 
of  this  that  the  plain  weave  and  cassimere  and  6-harness 
twills  are  largely  used  for  developing  the  best  check  and 
plaid  effects. 

The  check  effects  generally  met  with  may  be  roughly 
divided  into  two  classes;  namely,  those  into  the  composi¬ 
tion  of  which  only  two  colors  enter  and  those  composed 
of  three  or  more  colors.  The  former  class  is  by  far  the 
larger,  considering  the  quantity  of  the  patterns  on  the 
market,  but  the  latter  class  includes  some  of  the  best  and 
most  popular  plaid  and  check  patterns. 


TWO-COLOR  CHECKS 

17.  Common  Checks. — The  simplest  possible  check 
effect  is  produced  with  a  simple  weave  and  equal  quantities 
of  two  colors  in  both  warp  and  filling.  An  example  of  what 
is  known  as  the  simple,  or  common,  chebk  is  shown  in 
Fig.  14.  This  is  a  common,  or  staple ,  gingham  pattern  made 
with  the  plain  weave  and  arranged  twelve  threads  of  blue 
and  twelve  threads  of  white  in  both  warp  and  filling.  Checks 
of  this  nature  are  made  not  only  in  cotton,  but  in  all  kinds 
of  textile  fabrics.  The  weaves  generally  employed  are  the 
plain,  cassimere  twill,  6-harness  regular  twill,  and  various 
basket  weaves. 

18.  Common-Check  Modifications. — Common  checks 
may  be  easily  varied  so  that  the  entire  effect  will  be  changed 
by  simply  altering  the  arrangement  of  the  colors  to  a 
very  slight  extent.  For  instance,  if  the  simple  check  in 
Fig.  14  is  altered  by  running  a  narrow  band  of  blue 
through  the  center  of  each  white  stripe  and  a  band  of  white 
of  the  same  width  through  the  center  of  each  blue  stripe  in 
both  warp  and  filling,  the  effect  of  the  pattern  is  totally 
changed,  as  shown  in  Fig.  15.  The  pattern  of  both  warp 
and  filling  for  this  sample  is  as  follows: 


92  §  83 


85 


COLOR  IN  TEXTILE  DESIGNING 


15 


Blue . 

6 

6 

2 

White . 

2 

6 

6 

14 

Total  number  of  ends  or  picks  in  pattern . 28 


Another  and  even  more  simple  modification  of  the  com¬ 
mon  check  is  made  by  altering  the  number  of  ends  and 
picks  of  each  color.  Thus,  if  the  warp  and  filling  patterns 
of  the  common  check  in  Fig.  14  were  changed  to  6  blue  and 
18  white,  the  appearance  of  the  pattern  would  be  totally  dif¬ 
ferent,  as  shown  in  Fig.  16. 

19.  Overcheeks. — A  common,  or  simple,  check  may 
be  easily  modified  by  means  of  overchecking.  An  over¬ 
cheek  may  be  defined  as  a  large  square  marked  off  by  a 
few  threads  in  the  warp  and  filling  patterns  and  enclosing 
smaller  squares  of  the  check  effect.  If  the  common  check 
shown  in  Fig.  14  is  modified  by  a  white  overcheck,  the 
effect  is  as  shown  in  Fig.  17.  The  warp  and  filling  patterns 
for  this  check  are  as  follows: 


Blue . 

6 

6 

12 

24 

White . 

2 

12 

12 

26 

Total  number  of  ends  or  picks  in  pattern . 50 


The  size  of  the  overcheck  may,  of  course,  be  varied  at  will 
and  the  pattern  may  also  be  overchecked  with  blue  by 
dividing  white  stripes.  The  reason  for  modifying  the 
common  check  in  so  many  ways  is  that  a  common  check 
presents  a  stiff  appearance  and  lacks  diversity,  especially  if 
the  size  of  the  check  is  at  all  large.  Therefore,  the  more 
the  colors  are  broken  up,  the  softer  will  be  the  effect,  even 
if  only  two  colors  are  used. 

20.  Counterchange  Checks. — In  a  counterchange 
check,  the  colors  are  reversed  in  different  parts  of  both  the 


16 


COLOR  IN  TEXTILE  DESIGNING 


§85 


warp  and  filling  patterns;  that  is,  the  number  of  threads  is 
the  same,  but  one  color  is  inserted  in  the  place  of  the  other. 

The  effect  of  this  is  to  make  certain  por¬ 
tions  of  the  pattern  the  exact  reverse  of 
other  portions.  For  instance,  if  the  first 
half  of  the  pattern  is  arranged  6  white, 
6  black,  12  white,  the  last  half  of  the  pat¬ 
tern  will  be  arranged  6  black,  6  white, 
12  black;  that  is,  with  the  arrangement 
the  same  but  with  the  colors  counter- 
changed. 

Fig.  18  shows  a  counterchange  check  made  with  the  above 
pattern  in  both  warp  and  filling.  It  will  be  seen  that  the 
portion  of  the  check  marked  a  is  the  exact 
reverse  of  that  portion  marked  b  and,  simi¬ 
larly,  c  is  the  reverse  of  d\  that  is,  where  the 
pattern  is  white  in  one  portion,  it  is  black  in 
the  other  and  vice  versa.  Counterchange 
checks,  like  common  checks,  may  be  modi¬ 
fied  in  many  ways.  In  Fig.  19,  a  modifica¬ 
tion  of  the  pattern  in  Fig.  18  is  shown.  This 
is  obtained  by  dividing  each  broad  black  band  of  color  in 
both  warp  and  filling  with  a  few  white  threads  and  each 
broad  white  band  with  a  few  black  threads.  The  warp  and 
filling  patterns  for  Fig.  19  are  as  follows: 


Fig.  19 


White . 

6 

6 

6 

6 

2 

26 

Black  . 

6 

2 

6 

6 

6 

26 

Total  number  of  ends  or  picks  in  pattern . 52 


It  will  be  noticed  that,  while  Fig.  19  is  a  modification  of 
Fig.  18,  the  counterchange  character  of  the  check  is  still 
retained.  Fig.  18  could  also  have  been  modified  by  dividing 
the  narrow  black  and  white  bands,  or  both  systems  could 
have  been  united  and  an  even  more  complicated  check 
obtained,  although  still  retaining  the  counterchange  feature. 


85 


COLOR  IN  TEXTILE  DESIGNING 


17 


16  black 


16  white 

8  black].  or.  , 

0  .  .  Ifor  32  threads 

8  white  J 

4  black  ]  .  or.  , 

.  .  .  Ifor  32  threads 

4  white  J 


Fig.  20 


21.  Compound  Checks. — The  compound  system  of 
checking  is  commonly  met  with  in  all  classes  of  designs. 
These  checks  are  made  by  combining  two  or  more  systems 
of  warping  and  picking.  For  in¬ 
stance,  Fig.  20  shows  a  compound 
check  made  with  three  systems  of 
warping  and  picking.  The  pattern 
is  as  follows: 


Compound  checks  may  be  modified  in  many  ways,  which 
the  ingenuity  of  the  designer  will  readily  suggest.  The  fol¬ 
lowing  pattern  is  a  modification  of  the  pattern  in  Fig.  20  and, 

as  shown  in  Fig.  21, 
produces  a  far  bet¬ 
ter  check: 


16  black 
16  white 


8  black  1 

for 

8  white} 32 

threads 

8  white 

4  black  1 

for 

4  white  1 32 

threads 

12  white 

8  black  1 

for 

8  white  f  32 

threads 

8  white 

Many  styles  of 
compound  checks 
are  obtained  with  the  cassimere  and  6-harness  twills  by  group¬ 
ing  four  and  four  and  two  and  two  colorings  in  the  former  case 
and  six  and  six  and  three  and  three  colorings  in  the  latter  case. 


18  COLOR  IN  TEXTILE  DESIGNING  §85 

22.  Shaded  Checks. — Shaded-check  effects  may  be 
produced  in  two  colors  by  two  methods:  (1)  By  graduating 
the  warp  and  filling  patterns  so  that  they  will  shade  from 
dark  to  light  and  back  again  to  dark  if  desired;  (2)  by 


Fig.  22 

using  a  shaded  check  weave.  The  following  warp  and 
filling  pattern  produces  a  neat  shaded  check  effect  accord¬ 
ing  to  the  first  method.  This  pattern  is  shown  in  Fig.  22. 
It  may  be  subjected  to  modifications  as,  for  instance, 
by  grading  the  colors  in  larger  stripes,  say  by  fours, 


§85 


COLOR  IN  TEXTILE  DESIGNING 


19 


or  it  may  be  arranged  with  only  half  the  number  of  threads 
of  one  color  in  each  instance;  that  is,  2  black,  8  white,  4  black, 


7  white,  etc.;  but  in  this  latter  case  a  pick-and-pick  loom  will 
be  required. 

Shaded  checks  may  be  produced  by  using  a  shaded  weave 
with  a  warp  of  one  color  and  a  filling  of  another.  In  Fig.  23, 


■■■□□■■a 

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BBBDBBBB 

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Fig.  23 


a  shaded  weave  suitable  for  producing  checks  by  this 
method  is  given.  The  weave  is  made  by  adding  risers  to  a 


20 


COLOR  IN  TEXTILE  DESIGNING 


§85 


5-end  satin  base.  A  novel  check  effect  may  be  obtained  by 
combining-  into  a  check  design  shaded  squares  made  on  the 
aforesaid  principle,  but  so  constructed  that  the  center  of  one 
square  will  be  light  and  that  of  the  next  one  dark. 


THREE-COLOR  CHECKS 

23.  When  three  or  more  colors  are  employed  for  check¬ 
ing,  an  almost  endless  variety  of  patterns  can  be  easily  made 
and,  in  general,  it  may  be  said  that  the  patterns  produced  are 
more  complicated,  ingenious,  and  diversified  than  those 
obtained  with  only  two  colors.  Check  effects  made  on  this 
principle  are  found  in  almost  every  class  of  textile  fabrics 
where  checks  are  of  value,  and  may  vary  in  size,  arrange¬ 
ment,  and  coloring  according  to  the  character  of  the  fabric  to 
which  they  are  applied. 

24.  Common  Three-Color  Checks. — The  check  shown 
in  Fig.  24  and  known  as  the  common  three-color  cheek 
is  the  simplest  form  of  a  three-color  check  and,  although  not 
so  stiff  as  the  two-color  common  check,  it  is  a  stiff  pattern 


Fig.  24  Fig.  25 


and  is  liable  to  lack  the  neatness  of  the  two-color  common 
check.  The  pattern  of  Fig.  24  is  arranged  8  black,  8  gray, 
8  white  in  both  warp  and  filling.  Generally,  better  results 
are  produced  with  this  class  of  checks  if  small  effects  rather 
than  large  ones  are  made. 

25.  Modifications  of  Three-Color  Common  Checks. 
This  style  of  checking  may  be  modified  in  a  similar  manner 
to  that  explained  in  connection  with  the  two-color  common 


§85 


COLOR  IN  TEXTILE  DESIGNING 


21 


check.  In  Fig.  25,  a  modification  of  Fig.  24  is  shown; 
it  is  o.btained  by  dividing  each  black  band  in  both  warp 
and  filling  with  a  narrow  band  of  white,  each  white  band 
with  a  narrow  band  of  black,  and  every  alternate  band  of 
gray  with  narrow  bands  of  black  and  white.  The  pattern 
for  this  modification  is  as  follows: 


Black  .  . 

4 

4 

2 

2 

4 

4 

2 

22 

Gray  .  . 

| 

4 

4 

4 

4 

l6 

White  .  . 

1 

2 

1 

1 

4 

4 

2 

2 

4 

4 

22 

Total  number  of  ends  or  picks  in  pattern . 6o 


Many  other  modifications  may  be  devised;  for  instance, 
each  black  stripe  might  be  altered  by  dividing  with  white 
and  each  white  stripe  with  black, 
leaving  the  gray  stripe  intact. 

26.  Set  Checks. — Another 
modification  of  the  common  check 
is  known  as  the  set  elieck;  this 
is  obtained  by  increasing  the  num¬ 
ber  of  ends  and  picks  of  one  of 
the  colors.  The  effect  of  this  is 
to  produce  predominating  spots  of 
that  color  at  regular  intervals,  thus 
obtaining  the  set  effect.  Fig.  26 
is  a  set  check  produced  from  Fig.  24  by  doubling  the 
width  of  the  black  bands  of  color  in  warp  and  filling  and 
arranging  the  warp  and  filling  patterns  as  follows:  16  black, 
8  gray,  16  black,  8  white.  Set  checks  are  not  very  useful  in 
the  ordinary  run  of  textile  designing,  on  account  of  the  stiff 
appearance  of  the  pattern;  they  may,  however,  be  used  for 
a  base  and  modified  so  as  to  produce  effects  more  diver¬ 
sified  in  character. 

27.  Compound  Checks. — Compound  checking  with 
three  or  more  colors  yields  the  largest  diversity  of  patterns 


22 


COLOR  IN  TEXTILE  DESIGNING 


§85 


of  any  principle  employed.  These  checks  result  from 
crossing  a  compound  warping  pattern  (composed  usually  of 
several  orders  of  coloring)  with  a  similar  filling  pattern. 
The  effects  produced  are  often  of  a  large  and  showy  nature, 
as,  for  instance,  in  the  Scotch  plaids,  or  tartans;  and  again 
they  may  be  small  and  neat,  as  in  some  cotton  gingham 
patterns.  A  good  three-color  compound  check  is  shown  in 
Fig.  27.  The  arrangement  of  the  colors  is  as  follows: 

8  black  ^  threads 

8  white  J 

\  g!"ay  Ifor  24  threads 

4  white  J 

4  white 


Fig.  27  Fig-  28 

Another  neat  check  pattern  on  this  system  is  shown  in 
Fig.  28,  the  arrangement  of  warp  and  filling  being  as  follows: 
12  gray 
12  white 

8  blackK  r  threads 
8  white  J 

\  l^or  24  threads 
4  white  J 

4  white 

8  black threads 
8  white  J 

4  white 


§85 


COLOR  IN  TEXTILE  DESIGNING 


23 


Checks  of  this  description  may  be  varied  in  many  ways, 
as,  for  instance,  by  substituting  one  color  for  another, 
by  overchecking,  by  dividing  certain  broad  bands  of  color 
with  a  narrow  band  of  color,  etc.  In  Fig.  29,  another  com- 
jound  check  in  three  colors  is  shown,  which  illustrates  a 
pattern  very  frequently  met  with  in  a  wide  range  of  fabrics. 
The  warp  and  filling  arrangement  for  this  effect  is  as  follows: 

16  white 
6  black 
6  white 
6  gray 
6  white 
6  gray 
6  white 
6  gray 
6  white 
6  black 


Fig.  30 

28.  Three-Color  Counterchange  Checks. — Counter¬ 
change  checks  may  be  made  in  three  colors  in  a  manner 
similar  to  that  employed  with  two  colors.  The  effect  of  the 
counterchange,  however,  is  less  perfect,  on  account  of  the 
more  complicated  nature  of  the  pattern  due  to  the  use  of 
three  colors.  Fig.  30  shows  a  counterchange  check  in  three 
colors.  The  yarns  are  arranged  as  follows: 

12  gray 
12  white 
12  gray 
12  black 
12  white 
12  black 


24 


COLOR  IN  TEXTILE  DESIGNING 


85 


29.  Shaded  Checks. — Effects  of  a  shaded  character  are 
produced  in  patterns  employing  three  or  more  colors  by  using 
yarns  of  different  shades,  the  quantity  of  each  color  being 
the  same  or,  in  many  instances,  being  varied.  The  following 
warp  and  filling  pattern  will  produce  a  shaded  check  design 
according  to  this  method  and  serves  to  illustrate  the  principle 
employed: 

56  white 
8  light  gray 
8  medium  gray 
8  dark  gray 
8  black 
8  dark  gray 
8  medium  gray 
8  light  gray 

30.  Scotch  Plaids. — The  Scotch  plaids,  or  tartans,  are 
renowned  for  the  beauty  of  their  coloring  and  the  ingenious 
arrangement  of  the  different  colors.  Strictly  speaking,  the 
word  tartan  implies  a  woolen  or  worsted  plaid  cloth,  but  the 
same  colorings  are  woven  in  silk  and  fine  cottons  as  well  as 
in  worsted.  The  weave  most  generally  employed  is  the  cassi- 
mere  twill,  although  the  plain  and  other  simple  weaves  are 
sometimes  used.  Each  Scottish  clan  has  its  own  particular 
tartan  and  the  arrangement  of  the  colors  is  distinctive  of  that 
clan.  Some  clans  have  two  plaids,  one  for  ordinary  occasions 
and  another  for  dress.  The  following  are  the  warp  and  filling 
patterns  of  the  tartans  of  a  few  of  the  more  important  clans, 
and  which  are  frequently  used  in  fabrics  manufactured  for 
the  trade: 

Campbell  of  Argyle 
2  6  dark  green 
2  black 
4  yellow 
2  black 

2  6  dark  green 
2  6  black 
2  4  dark  blue 
4  white 
2  4  dark  blue 
2  6  black 


1  6  4 


85 


COLOR  IN  TEXTILE  DESIGNING 


25 


Royal  Stuart 

Gordon 

1  2  red 

2  8  black 

4  black 

6  Scotch  blue 

6  red 

,  6  black 

6  white 

6  Scotch  blue 

6  red 

6  black 

4  black 

2  4  Scotch  blue 

1  2  red 

8  black 

1  6  blue  green 

8  Scotch  blue 

6  black 

8  black 

4  white 

8  Scotch  blue 

6  black 

2  8  black 

4  yellow 

3  4  Scotch  green 

1  2  black 

8  yellow 

1  0  blue 

3  4  Scotch  green 

1  8  red 

2  8  black 

1  0  blue 

2  8  Scotch  blue 

1  2  black 

6  black 

4  yellow 

6  Scotch  blue 

6  black 

6  black 

4  white 

2  8  Scotch  blue 

6  black 

2  8  black 

1  6  blue  green 

3  4  Scotch  green 

18  4 

8  yellow 

3  4  Scotch  green 

4  18 

Note.— Scotch  blue  is  a  blue  with 

a  greenish  hue  composed  of  75  per  cent,  of 

normal  blue  mixed  with  25  per  cent,  of 

green.  In  the  same  manner  the  Scotch  green 

is  composed  of  75  per  cent,  of  green  mixed  with  25  per  cent,  of  blue. 

MacGowan 

MacPherson  (Dress) 

2  2  black 

3  6  dark  gray  mix 

1  0  red 

6  red 

4  6  green 

6  dark  gray  mix 

4  4  red 

6  red 

.  4  6  green 

3  6  dark  gray  mix 

1  0  red 

2  6  black 

4  6  black 

8  dark  gray  mix 

4  4  red 

1  0  black 

2  4  black 

4  yellow 

2  9  2 

1  0  black 

8  dark  gray  mix 

2  6  black 

18  2 

Note.  -The  dark  gray  mixture  yarn  in  the  MacPherson  tartan  is  composed  of 
90  per  cent,  black  and  10  per  cent,  white. 


26 


COLOR  IN  TEXTILE  DESIGNING 


85 


Campbell  of  Breadalbane  Black  Watch,  or  42d  High- 


2  6  black 

LANDERS 

4  2  Scotch 

green 

2  6  black 

2  black 

2  8  Scotch  green 

6  red 

6  black 

2  black 

2  8  Scotch  green 

4  2  Scotch 

green 

2  6  black 

2  6  black 

2  6  Scotch  blue 

4  4  Scotch 

blue 

6  black 

2  black 

6  Scotch  blue 

6  yellow 

6  black 

2  black 

2  6  Scotch  blue 

4  4  Scotch 

blue 

18  4 

2  4  4 

These  patterns  are  those  of  only  a  few  of  the  many  Scotch 
clans,  but  as  the  patterns  given  are  the  more  common  ones 
they  are  sufficient  for  illustrating  the  general  character  of 
these  plaids.  Fig.  31  shows  the  appearance  of  the  Campbell 
of  Argyle  plaid.  It  is  customary  by  the  trade  to  call  all 
patterns  resembling  the  Scotch  plaids  by  that  name  whether 
they  are  true  plaids  or  not. 


EXAMPLES  FOR  PRACTICE 

1.  Make  an  original  check  effect  and  state  to  what  class  of  checks 
it  belongs. 

2.  State  a  suitable  warp  and  filling  pattern  for  a  shaded  check  in 
two  colors. 

3.  Make  a  common  check  and  show  the  effects  of  at  least  two 
modifications  of  it. 

4.  Make  a  compound  check  effect. 


SPOTS 

31.  Spots  are  almost  invariably  developed  by  means  of 
special  weaves,  such  as  have  been  described.  The  coloring 
of  each  fabric,  therefore,  varies  with  the  character  of  the 
weave.  In  the  case  of  spot  weaves  in  single  cloths,  the 
fabric  is  generally  woven  a  solid  color  or  else  piece  dyed 
after  being  woven  white.  Sometimes,  however,  the  warp  is 


92  ;  85 


85 


COLOR  IN  TEXTILE  DESIGNING 


27 


of  one  color  and  the  filling  of  another,  in  which  case  the 
color  of  the  spots  depends  on  whether  it  is  made  by  a  warp 
or  a  filling  flush  in  the  weave. 

In  extra  warp  spot  effects  the  ground  cloth  is  generally  of 
a  solid  color,  although  it  may  be  ornamented  with  a  separate 
pattern  of  its  own,  and  the  extra  warp  ends  are  colored 
according  to  the  color  of  the  spot  desired.  Thus,  an  extra 
warp  spot  design  might  be  arranged  with  the  warp  and  filling 
of  the  ground  cloth  white  and  the  extra  warp  ends  blue,  in 
which  case  the  weave  would  be  such  as  to  form  a  blue  spot 
on  a  white  ground.  In  the  same  way  extra  filling  designs 
are  arranged  usually  with  the  warp  and  ground  picks  of  one 
color  and  the  extra,  or  figuring,  picks  of  another  color  with 
which  it  is  desired  to  produce  a  spot  on  the  ground  color. 
Spotted  effects  are  sometimes  produced  in  the  cloth  by  the 
use  of  spotted  fancy  yarns,  but  the  patterns  and  effects  so 
produced  are  not  true  spots,  but  rather  give  the  fabric  the 
appearance  of  a  mixture  or  an  all-over  effect. 


DESIGNING  IN  GENERAL 


DUTIES  OF  A  DESIGNER 

1.  Picking  out  and  reproducing  a  sample  of  cloth  and 
originating  new  weaves  should  not  be  considered  as  all  the 
requirements  of  a  good  designer,  as  there  are  many  other 
-  things  that  must  be  understood  before  one  can  become  com¬ 
petent  in  this  branch  of  textile  work.  In  fact,  the  more  a 
person  learns  of  all  the  branches  of  textile  manufacturing, 
the  better  designer  he  will  become,  since  if  he  understands 
the  processes  through  which  the  fibers  pass  before  becoming 
cloth,  and  the  results  of  these  processes,  he  will  be  better 
able  to  judge  what  combinations  are  best  to  form  a  fabric. 
By  this  it  is  not  meant  that  to  become  a  designer  one  must 
know  the  best  methods  of  setting  the  different  parts  of  all 
the  machines  in  a  mill,  but  that  one  should  be  able  to  judge 
whether  or  not  the  product  of  any  machine  is  suitable  for  the 
purpose  for  which  it  is  intended,  and  have  some  knowledge 
of  the  theory  and  principles  on  which  the  machine  is  operated. 

In  addition  to  this,  a  designer  should  be  a  constant  student 
of  the  market,  in  order  to  know  what  effects  and  designs  are 
especially  salable,  for  although  it  is  not  usually  the  case  that 
the  designer  has  complete  authority  to  manufacture  any 
grade  or  quality  of  cloth  that  he  may  desire,  his  opinions  in 
regard  to  these  points  are  often  sought. 

It  is  a  good  plan  for  a  student  of  designing  to  have  a 
large  sample  book  in  which  samples  of  cloth  and  their 
pick-outs  may  be  kept.  These  will  be  a  great-  aid  when 
obtaining  new  weaves  and  new  combinations  of  colors,  for 
although  the  fashions  of  the  previous  season  may  not  prevail 


For  notice  oi  copyright,  see  page  immediately  following  the  title  page 


2 


DESIGNING  IN  GENERAL 


§86 


the  next  year,  many  good  points  may  be  obtained  from 
cloths  kept  in  this  manner.  Designers  of  long  experience 
are  well  aware  that  there  is  a  cycle  of  fashions  in  textile 
fabrics;  that  is,  after  a  period  of  years,  certain  styles  of 
goods  come  into  favor  again.  The  fabrics  of  today  may 
have  been  in  vogue  8,  10,  or  15  years  ago  and,  in  most 
cases,  will  be  worn  again  in  a  similar  period.  Thus,  the 
history  of  previous  seasons’  styles,  as  found  in  the  old 
pattern  books  of  the  mills  or  in  books  or  periodicals  for¬ 
merly  published  containing  reproductions  of  fabrics  then  in 
fashion,  are  well  worth  the  attention  of  a  designer. 

In  addition  to  being  conversant  with  the  different  kinds  of 
yarn  manufactured  in  his  own  mill,  the  designer  will  find  it 
an  advantage  to  understand  yarns  generally,  as,  for  instance, 
those  in  which  different  materials  are  combined,  since  in 
many  cases  such  yarns  will  be  found  in  a  fabric.  Samples 
of  cloth  are  often  sent  to  the  mill  by  the  selling  agent  with 
directions  to  reproduce  them  in  certain  lines;  that  is,  it  may 
be  desired  to  produce  a  fabric  that  will  be  similar  to  the 
sample  in  appearance  and  yet  can  be  sold  at  a  lower  price; 
in  other  cases  it  may  be  desired  to  use  a  sample  simply 
for  its  combination  of  colors,  or  for  its  weave;  while  in  still 
other  cases  orders  may  be  given  to  the  designer  to  repro¬ 
duce  the  sample  exactly.  In  short,  it  may  be  said  that  the 
primary  duties  of  a  designer  are  to  reproduce  samples  of 
cloth  and  originate  new  weaves,  while,  in  order  to  do  this 
correctly,  it  is  advisable  that  he  should  understand  all  the 
processes  involved  in  the  making  of  perfect  cloth. 


DESIGNING  DEPARTMENT 
2.  Different  mills  adopt  different  arrangements  for  their 
designing  departments,  since  those  that  would  be  best  for  a 
mill  arranged  to  make  certain  kinds  of  cloth  would  not  be 
suitable  for  a  mill  that  manufactured  an  entirely  different 
class  of  fabric.  However,  if  the  processes  explained  are 
understood,  one  should  be  able  to  adapt  oneself  to  any 
methods  that  may  have  to  be  dealt  with. 


§86 


DESIGNING  IN  GENERAL 


3 


The  designing  department  of  a  mill  usually  consists  of 
at  least  two  rooms — one  for  the  designer  and  his  assistant, 
if  an  assistant  is  employed,  and  one  termed  the  weave  room , 
in  which  the  samples  are  woven.  In  many  mills,  however, 
the  designer  has  but  one  room,  while  the  samples  are  woven 
in  the  regular  weave  room  of  the  mill,  although  it  is  better 
to  have  a  separate  room  for  weaving  these  samples;  the  best 
plan  is  to  have  adjoining  rooms 
with  glass  windows  between,  in 
order  that  the  designer  may 
have  direct  supervision  over  the 
weave  room  even  while  per¬ 
forming  his  other  work.  This 
department  should  be  in  a  part 
of  the  mill  where  good  light 
may  be  obtained,  and  it  is  also 
an  advantage  to  have  the  walls 
painted  white. 

3.  Equipment  of  Design¬ 
er’s  Room. — To  aid  in  meas¬ 
uring  and  folding  the  cloth 
samples,  the  designer  should  be 
supplied  with  a  long,  flat  table, 
while  he  should  have  another 
table,  known  as  an  examin¬ 
ing  table,  for  use  when  inspect¬ 
ing  the  samples  after  they  are 
woven.  The  top  of  the  exam¬ 
ining  table  should  be  inclined 
at  an  angle  of  from  30°  to  40°; 
one-half  should  be  painted  black  and  the  other  half  white,  in 
order  to  provide  a  dark  surface  for  inspecting  light-colored 
cloth  and  a  light  surface  for  inspecting  dark  cloth.  This  table 
should  be  situated  in  such  a  position  that  the  person  examin¬ 
ing  the  cloth  will  have  a  good  light  on  his  work.  The 
designer  should  also  be  provided  with  a  yarn,  or  wrap,  reel 
with  which  to  obtain  accurate  lengths  of  yarn,  as  well  as 


4 


DESIGNING  IN  GENERAL 


§86 


yarn  and  cloth  scales  for  weighing  yarn  and  cloth  when 
determining  the  counts  of  yarn  or  the  weight  of  cloth. 

4.  A  yarn-testing  machine  similar  to  that  shown  in  Fig.  1 
is  necessary,  in  order  to  ascertain  whether  the  strength  of 
the  yarn  being  used  is  up  to  the  standard.  To  operate  this 
machine,  a  skein  of  yarn — usually  containing'  120  yards 


Fig.  2 


when  testing  cotton  and  80  yards  when  testing  worsted — is 
first  wound  on  the  wrap  reel,  and  then  placed  on  the  two 
hooks  a,  b  of  the  yarn-testing  machine;  by  turning  the  handle 
until  the  yarn  breaks,  its  breaking  weight  is  shown  by  means 
of  the  finger  on  the  dial. 

Another  type  of  yarn-testing  machine,  which  may  better  be 
termed  a  yarn-examining  machine ,  is  shown  in  Fig.  2.  In  this 


§86 


DESIGNING  IN  GENERAL 


5 


machine,  the  yarn  is  wound  from  a  bobbin  or  cop  on  to  a 
card  a  in  such  a  manner  that  there  will  be  only  one  layer  of 
the  yarn.  When  thus  placed  on  the  card,  any  imperfections, 
such  as  thin  places,  specks,  etc.,  will  be  readily  noticed,  since 
white  yarn  may  be  wound  on  a  black  card  and  black  or  dark- 
colored  yarn  on  a  white  or  gray  card. 

Various  types  of  cloth-testing  machines  are  employed  for  the 
purpose  of  determining  the  strength  and  elasticity  of  the 
fabric.  In  the  manufacture  of  a  large  variety  of  cloths  these 
items  are  an  important  matter,  while  in  many  cases  orders 
placed  with  the  mill  stipulate  the  strength  and  elasticity  that 
the  cloth  shall  have;  this  is  especially  the  case  with  the 
manufacture  of  army  goods.  Breaking  tests  afford  a  fairly 
accurate  proof  of  whether  the  bleaching  processes  through 
which  cotton  and  linen  goods  have  passed  have  been  rational 
ones;  that  is,  whether  the  goods  have  been  weakened  or  not. 
Although  there  are  a  number  of  makes  of  these  machines, 
almost  all  are  operated  on  the  same  principle.  The  cloth 
is  held  between  two  clamps  and  by  turning  a  handle  is 
distended  until  it  tears,  its  strength  being  registered  by  a 
pointer  on  a  dial,  much  the  same  as  in  the  case  of  the  yarn¬ 
testing  machine. 

5.  A  designer  should  be  supplied  with  record  books  in 
which  to  keep  samples  of  all  the  weaves  produced,  in  order 
to  have  an  accurate  record.  These  record  books,  which  may 
be  considered  another  style  of  sample  book,  if  carefully  num¬ 
bered  and  indexed,  so  that  any  style  or  pattern  may  be  readily 
referred  to,  will  be  a  good  guide  when  making  new  samples. 

Sample  cards  of  yarns  should  be  kept;  these  are  simply 
strips  of  cardboard  around  which  are  wound  samples  of  each 
color  or  counts  of  yarn  that  the  mill  is  using.  These  cards 
are  so  arranged  that  they  will  enable  the  designer  to  see  at 
a  glance  what  colors  are  at  his  disposal;  they  are  also  of 
some  aid  when  desiring  to  learn  how  the  colors  will  look 
when  arranged  in  the  cloth.  Yarns  are  frequently  arranged 
in  books,  which,  in  this  case,  serve  the  same  purpose  as  the 
cards. 


6 


DESIGNING  IN  GENERAL 


§86 


In  addition  to  the  articles  mentioned,  there  should  be  a 
supply  of  layout  sheets  on  which  to  make  out  directions  for 
warping  the  yarn  for  the  cloth  samples;  also,  pick  glasses, 
pick-out  needles,  and  design  paper. 

6.  Equipment  of  Weave  Room. — The  designer’s  weave 
room  should  contain  all  the  articles  and  machines  necessary 
for  making  samples  of  cloth  from  the  yarn.  In  many  cases, 
the  different  counts  and  colors  of  yarn  made  in  the  mill  are 
placed  on  bobbins,  cops,  or  small  spools  that  are  kept  in 
boxes  or  drawers  in  the  designer’s  weave  room.  These 
boxes  should  be  labeled  on  the  outside,  to  show  the  colors 
and  counts  of  yarn  that  they  contain.  They  should  be  kept 
systematically  and  should  be  readily  accessible,  so  that  when 
it  is  desired  to  make  a  warp  there  will  be  no  difficulty  in 
finding  the  proper  yarn.  Almost  every  designer’s  weave 
room  contains  a  warping  arrangement  by  means  of  which  the 
designer  may  have  his  own  warps  made.  As  these  warps  are 
not  generally  over  9  yards  in  length,  the  saving  in  expense 
and  trouble  when  made  in  this  manner  will  be  apparent. 

The  weave  room  should  also  contain  looms  on  which  the 
sample  warps  may  be  woven.  These  looms  should  be  capa¬ 
ble  of  reproducing  any  kind  of  cloth  made  in  the  mill;  that  is, 
if  the  mill  is  running  dobby  work,  it  is  necessary  to  have  one 
or  more  dobby  looms,  and  if  running  box  work,  it  is  neces¬ 
sary  to  have  box  looms.  Each  loom  should  be  located  near 
a  separate  window,  in  order  to  supply  good  light  to  the 
weaver. 

Each  loom  in  the  weave  room  should  be  attended  by  at 
least  one  man,  known  as  a  pattern  weaver.  If  the  sample 
warps  are  made  in  this  room,  there  should  also  be  a  man  for 
this  purpose.  Although  there  should  usually  be  a  fixer  for 
the  purpose  of  putting  in  the  warps,  building  the  harness  and 
box  chains,  and  keeping  the  looms  in  good  running  order, 
in  many  cases,  where  only  one  or  two  looms  are  employed, 
a  fixer  may  be  dispersed  with,  as  the  weaver  himself  may 
be  competent  to  look  after  this  part  of  the  work  with  the  aid 
of  the  designer. 


§86 


DESIGNING  IN  GENERAL 


7 


METHODS  OF  PRODUCING  SAMPLES 


ORIGIN  OF  NEW  STYLES 

7.  It  is  very  seldom  that  the  designer  has  complete  con¬ 
trol  over  the  class  of  goods  that  the  mill  makes,  as  in  the 
majority  of  cases  the  selection  of  a  new  line  of  goods  is 
dependent  on  the  opinions  of  either  the  agent  or  the  com¬ 
mission  house. 

In  America  today,  the  styles  of  cloth  manufactured  are  to 
a  large  extent  derived  from  the  styles  of  Europe,  and  con¬ 
sequently  it  is  an  advantage  to  a  person  in  this  country  to 
know,  as  soon  as  possible,  what  styles  and  fashions  are 
selling  in  Europe.  There  are  several  French  firms  with 
headquarters  in  Paris  and  branch  offices  in  the  United  States 
that  make  a  business  of  selling  foreign  samples  to  the  mills. 
In  other  cases,  samples  are  sent  direct  from  Europe;  some 
of  the  larger  mills  keep  agents  there  permanently  for  this 
purpose,  while  others  send  men  there  occasionally  to  obtain 
ideas.  As  many  lines  of  goods  that  are  fashionable  in 
Europe  one  season  are  in  vogue  in  America  the  next,  the 
advantage  of  obtaining  these  samples  is  obvious. 

In  the  cotton  trade,  rough  sketches  of  desirable  fabrics, 
accompanied  by  directions  for  producing  samples,  are  fre¬ 
quently  sent  to  the  mill  by  the  commission  house.  This  is 
usually  done  where  small  striped  effects  are  desired,  such  as 
satin  stripes  combined  with  other  weaves.  In  such  cases, 
the  width  of  the  different  stripes  is  designated  and  the 
other  details  left  to  the  designer. 


TRIAL  SAMPLES 

8.  When  a  line  of  samples  is  sent  to  the  mill,  the  designer 
first  looks  them  over  and  selects  those  that  in  his  opinion  it 
will  be  possible  for  the  mill  to  make,  each  of  which  he  then 
considers  separately  with  a  view  to  reproducing  it  as  accu¬ 
rately  as  possible.  The  first  step  is  to  dissect  the  sample  in 
order  to  ascertain  the  weave  and  the  arrangement  of  the 


8 


DESIGNING  IN  GENERAL 


86 


yarns  in  both  the  warp  and  filling.  Then,  if  it  is  found  that 
the  cost  of  manufacturing  such  cloth  is  satisfactory  and  that 
it  is  possible  to  obtain  the  necessary  yarns  for  it — of  the 

STYLE  A--A- 

.•??.  f.Warp..  .Filling...  J%t..  Picks..  Ends.^fjf.JReed Harness..  .^..Yds-Slashed. 


Patt. /. 


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Fig.  3 

correct  color,  counts,  and  quality — the  necessary  specifica¬ 
tions  are  made  out. 

The  samples  to  be  made  from  these  specifications  are 
known  as  trial  samples  and  are  comparatively  small, 


DESIGNING  IN  GENERAL 


9 


^S6 

jometimes  not  more  than  6  inches  wide.  When  this  is  the 
case,  it  is  generally  the  custom  to  make  up  a  number  of 
samples  in  one  warp,  known  as  a  blanket  warp.  For  example, 
suppose  that  a  number  of  patterns,  each  6  inches  wide,  are 
to  be  made  with  the  same  warp.  The  first  6  inches  in  the 
width  of  the  warp  will  consist  of  one  sample,  the  next 
6  inches  will  consist  of  another,  and  so  on  until  the  whole 
width  of  the  warp  is  occupied.  In  Fig.  3,  which  gives  the 
specifications  for  a  blanket  warp,  there  are  six  warp  patterns 
of  the  same  style  that  differ  only  in  the  arrangement  of  the 
colors.  When  all  the  samples  in  a  trial  warp  are  of  the  same 
style,  all  the  ends  have  the  same  drawing-in  draft  and  also 
he  same  chain  draft.  There  are  cases,  however,  in  which 
different  styles  are  placed  in  the  same  warp,  and  it  then  often 
becomes  necessary  to  have  more  than  one  drawing-in  draft, 
and  often  the  chain  draft  is  changed  so  that  certain  samples 
may  be  woven  with  a  different  weave. 

9.  Warping  tlie  Yarn. — After  the  specifications  have 
been  made  out  by  the  designer,  they  are  given  to  the  person 
who  makes  the  warps.  The  spools,  bobbins,  or  cops  con¬ 
taining  the  yarn  of  the  required  colors  and  counts  are  then 
selected  from  the  boxes  and  placed  on  a  creel,  similar  to  that 
shown  in  Fig.  4,  in  their  proper  order;  that  is,  in  such  a 
manner  that  the  ends  may  be  taken  from  them  in  the  order 
in  which  they  are  to  be  arranged  in  the  warp.  For  example, 
suppose  that  a  warp  is  arranged  4  white  and  4  black.  Then 
four  spools  containing  white  yarn  will  be  so  placed  in  the 
creel  that  they  can  be  taken  first  by  the  person  making  the 
warp,  and  the  four  spools  containing  black  yarn  will  follow. 

Fig.  4  shows  sufficient  bobbins  for  a  single  repeat  of  a 
warp  pattern  arranged  4  ends  black,  2  ends  gray,  2  black, 
and  2  white.  The  first  bobbin  is  placed  on  the  back  row  of 
pegs,  the  second  on  the  front  row  of  pegs,  the  third  on  the 
back  row,  the  fourth  on  the  front  row,  and  so  on.  The  ends 
are  then  taken  from  each  row  in  successive  order;  that  is, 
the  first  end  comes  from  the  first  bobbin  on  the  back  row, 
the  second  end  from  the  first  on  the  front  row,  etc.  The 


10 


DESIGNING  IN  GENERAL 


§86 


ends  from  the  bobbins  on  the  back  row  are  passed  behind  a 
wire  b,  while  those  placed  on  the  front  row  are  passed  behind 
a  wire  a.  The  ends  are  then  passed  to  the  top  of  the  creel 
and  threaded  through  eyes  c.  By  arranging  the  ends  in  this 
manner,  the  person  making  the  warp  can  easily  form  a  lease 
so  that  the  drawing-in  hand  may  find  the  separate  ends 
readily. 

10.  Fig.  5  shows  a  warping  arrangement  that  is  in  gen¬ 
eral  use.  In  many  cases  this  consists  simply  of  pegs  inserted 
in  the  wall  of  the  room,  around  which  the  yarn  from  the 


bobbins  can  be  passed,  but  in  other  cases  it  consists  of  a 
rectangular  frame  attached  to  the  wall  as  shown.  The  per¬ 
son  making  the  warp  first  ties  the  ends  together  and  slips 
them  over  the  peg  a;  he  then  selects  the  ends  from  the  creel 
in  their  proper  order,  and  makes  a  lease  by  passing  the 
first  end  over  the  thumb  and  under  the  forefinger  of  the  right 
hand,  the  next  end  under  the  thumb  and  over  the  forefinger, 
etc.,  in  this  manner  separating  the  even-numbered  from  the 
odd-numbered  ends.  After  the  lease  is  made,  it  is  passed 
over  pegs  b,  c  in  the  same  manner  that  it  was  passed  around 


86 


DESIGNING  IN  GENERAL 


11 


S> 


Fig. 


12 


DESIGNING  IN  GENERAL 


§86 


the  thumb  and  forefinger;  as  these  pegs  serve  to  hold  the 
lease  of  the  warp,  they  are  termed  lease  pegs.  All  the  yarn 
is  then  passed  around  the  pegs  g  until  it  comes  to  the 
pegs  d ,  e\  here  it  passes  under  the  peg  e,  over  the  peg  d,  then 
around  /,  back  under  the  peg  d,  and  over  the  peg  e.  By  this 
means  another  lease  is  formed  of  sections  containing  a 
greater  number  of  threads  than  in  the  case  of  the  pegs  b ,  c, 
which  separated  the  yarn  thread  by  thread.  This  last  lease  is 
formed  simply  for  the  purpose  of  spreading  the  warp  more 
evenly  on  the  beam.  From  the  peg  e,  the  yarn  passes  back 
around  the  pegs  g  in  reverse  order  until  it  reaches  the  pegs  b,  c, 
where  a  lease  is  again  formed  and  the  ends  then  knotted 
around  a  and  cut.  The  manner  in  which  the  warp  yarn  is 
wound  around  the  pegs  places  twice  as  many  ends  on  the 
warper  as  are  taken  from  the  creel  each  time  that  the  yarn 
is  passed  back  and  forth,  since  it  commences  and  ends  at  the 
same  point.  The  length  of  the  warp  is  governed  by  the 
number  of  pegs  g  that  are  used. 

The  number  of  bobbins  shown  in  Fig.  4  is  by  no  means  the 
limit  of  the  number  that  can  be  used  at  once,  as  several 
repeats  of  the  warp  pattern  may  be  placed  on  the  creel  at  one 
time.  Suppose,  for  illustration,  that  the  warp  for  one  sample 
is  to  contain  480  ends  and  that  one  pattern  is  arranged  as 
shown  in  this  figure,  containing  10  ends;  also,  that  four  of 
these  patterns  are  taken  from  the  creel  at  one  time.  40  ends 
are  therefore  first  passed  around  the  pegs  together  and  then 
brought  back,  which  gives  80  ends  of  the  warp.  The  person 
making  the  warp  then  selects  the  ends  for  the  four  patterns 
the  second  time  and  passes  them  around  the  pegs  and  back 
again,  which  gives  80  more  ends,  or  160  altogether.  This 
is  repeated  a  sufficient  number  of  times  to  give  all  the  ends 
in  the  warp.  As  in  this  case  there  are  to  be  480,  the 
ends  from  the  cops  must  be  passed  around  the  pegs  six 
times  in  order  to  give  the  required  number. 

If  another  sample  consisting  of  different  colors,  or  a  dif¬ 
ferent  arrangement  of  the  same  colors,  is  to  be  warped  on 
the  same  beam,  it  will  be  necessary  to  rearrange  the  spools 
or  cops  for  this  sample.  This  operation  is  repeated  until  the 


§86 


DESIGNING  IN  GENERAL 


13 


differenc  samples  are  warped.  In  some  cases  a  special 
thread,  such  as  a  double  and  twist,  is  inserted  between  each 
two  samples  in  the  same  warp  in  order  to  designate  the 
point  where  two  samples  join. 

11.  Beaming  the  Yarn. — When  taking  the  yarn  from 
the  warper,  the  regular  lease  rods  used  in  drawing-in  should 
be  inserted  in  place  of  the  pegs  b,  c.  The  warp  is  then  taken 
from  the  pegs  and  wound  on  the  loom  beam.  In  case  the 
warp  is  not  to  be  beamed  as  soon  as  it  is  taken  from  the 
warper,  a  string,  or  lease  band,  may  be  inserted  in  place  of 
the  lease  rods,  thus  allowing  the  warp  to  be  wound  in  the 
shape  of  a  ball.  The  loom  beam  generally  rests  on  stands 
in  such  a  manner  that  it  can  be  turned  by  hand;  the  end  of 
the  warp  is  spread  out,  and  the  ends  of  yarn  thoroughly 
straightened,  after  which  it  is  wound  on  the  loom  beam. 
Sometimes  as  an  aid  to  straightening  the  ends,  a  coarse 
heckling  comb  is  used,  the  ends  being  spread  evenly  in  the 
comb  and  drawn  through  the  dents  as  they  are  wound  on 
the  beam. 

12.  Drawing  In  and  Weaving. — After  the  warp  has 
been  beamed,  it  is  taken  to  the  drawing-in  room,  where  it  is 
drawn  through  the  harnesses  and  reed,  according  to  the  speci¬ 
fications.  In  some  cases,  the  warp  may  be  drawn  in  the 
designer’s  weave  room,  although  no  expense  is  saved  by 
adopting  this  method,  as  the  drawing-in  of  the  sample  warp 
is  as  much  a  regular  process  as  the  drawing-in  of  any  regular 
warp  for  the  weave  room. 

After  being  drawn  in,  it  is  sent  back  to  the  designer’s 
weave  room  ready  to  be  woven.  The  beam  is  then  placed 
in  the  loom  and  the  harnesses  tied  up  ready  for  weaving, 
after  which  the  necessary  chains  are  built  and  placed  on  the 
loom  and  the  first  sample  woven. 

In  case  several  samples  with  different  fillings  are  combined 
in  a  warp,  it  is  necessary  to  weave  one  sample  at  a  time. 
Suppose  that  one  sample  contains  a  filling  pattern  of  4  black 
and  4  white,  and  another  a  filling  pattern  of  8  white  and 
8  black;  it  is  not  possible,  of  course,  to  weave  both  of  these 


14 


DESIGNING  IN  GENERAL 


§86 


patterns  at  the  same  time,  since  each  has  a  different  arrange¬ 
ment  of  filling.  Therefore,  when  one  pattern  is  being 
woven,  the  rest  of  the  patterns  in  the  warp  will  be  of  no  use. 
These  are  termed  hybrids  and  are  generally  thrown  away;  in 
some  cases  good  samples  are  obtained  from  them,  but  this 
is  the  exception  rather  than  the  rule.  After  the  first  sample 
has  been  woven  with  the  necessary  filling,  the  second  is 
woven.  This  necessitates  at  least  the  changing  of  the  filling 
and,  in  some  cases,  the  building  of  a  new  box  chain,  while 
in  very  rare  instances,  where  the  sample  warp  contains  differ¬ 
ent  styles,  a  new  harness  chain  is  also  necessary. 

13.  Tying  Over. — Suppose  that  there  are  six  patterns 
in  a  sample  warp  and  that  each  is  woven  with  its  own  filling 
pattern;  then  six  regular  samples  will  be  obtained.  In 
many  cases,  however,  it  is  an  advantage  to  change  even  the 
warp  yarn  in  the  sample  warp;  that  is,  after  the  six  regular 
samples  have  been  woven,  it  may  be  left  to  the  discretion 
of  the  designer  to  arrange  different  combinations  of  colors, 
using  the  same  weave.  When  this  is  the  case,  it  is  much 
cheaper  to  simply  tie  over  the  warp  ends  that  it  is  desired 
should  be  changed  rather  than  make  and  draw  in  an  entirely 
new  warp. 

To  illustrate  this  point  more  fully,  suppose  that  a  certain 
pattern  in  the  warp  is  arranged  4  black,  2  gray,  2  black, 
and  2  white  and  it  is  desired  to  change  the  2  ends  of  gray 
to  a  different  color.  The  manner  in  which  this  is  accom¬ 
plished  is  as  follows:  The  harnesses  through  which  the 
ends  of  gray  are  drawn  are  raised,  while  all  the  others  are 
lowered,  thus  allowing  the  ends  of  the  gray  to  be  readily 
accessible.  A  spool  of  the  yarn  to  be  substituted  for  the 
gray  is  placed  on  a  wire  rod  over  the  loom.  Two  ends  of 
gray  are  then  broken  out  and  the  end  of  one  of  them  that 
is  connected  to  the  woven  cloth  is  attached  to  the  end  from 
the  spool.  This  new  end  is  carried  some  distance  from  the 
back  of  the  loom  around  any  suitable  object  and  then  back 
again  to  the  other  end  of  gray,  to  which  it  is  attached  after 
being  broken  from  the  spool.  When  all  the  gray  ends  have 


§86 


DESIGNING  IN  GENERAL 


15 


been  tied  in  this  manner,  the  loose  ends  of  gray  that  were 
broken  out  are  drawn  down  under  the  beam  and  a  weight 
attached  to  them,  in  order  to  prevent  their  passing  up  over 
the  whip  roll  into  the  lease  rods.  The  operator,  after  detach¬ 
ing  the  new  ends  from  the  object  around  which  they  were 
passed  at  the  back  of  the  loom,  picks  up  the  ends  of  gray  in 
front  of  the  reed  with  a  wire  rod,  and  draws  them  through 
the  harnesses  and  reed  until  the  new  ends  that  have  been 
tied  to  them  reach  the  fell  of  the  cloth.  These  new  ends 
are  then  fastened  at  the  front  of  the  loom  by  means  of  2  or  3 
picks  of  filling,  while  at  the  back  of  the  loom  a  weight  is 
attached  to  the  ends  to  keep  them  tight  during  weaving. 

In  some  cases  the  ends  of  the  warp  are  tied  over  at  the 
front  of  the  loom  instead  of  at  the  back.  When  this  method 
is  adopted,  the  ends  to  be  tied  over  are  broken  out  in  front 
of  the  reed  and  the  new  ends  attached  to  the  ends  coming 
from  the  beam,  after  which  they  are  drawn  through  the  reed 
and  harnesses  to  the  back  of  the  loom,  leaving  a  sufficient 
length  of  yarn  in  front  of  the  reed,  however,  to  allow  the 
new  ends  to  be  attached  to  the  cloth  by  a  few  picks  of  filling. 
After  the  ends  have  been  tied  over,  the  desired  pattern  of 
filling  is  placed  in  the  loom  and  another  sample  of  cloth 
woven.  Other  samples  may  be  readily  produced  in  the  same 
manner,  and  thus  a  large  number  of  trial  samples  obtained 
from  one  warp.  For  example,  suppose  that  a  sample  warp 
contains  six  original  patterns  and  that  each  pattern  is  tied 
over  three  times;  then  twenty-four  regular  samples  will  be 
obtained  from  the  one  warp. 

14.  After  the  entire  warp  has  been  woven  in  this  man¬ 
ner,  the  cloth  is  taken  from  the  loom  and  carried  to  the 
designer’s  room,  where  it  is  measured  and  weighed.  It  is 
then  taken  to  the  finishing  room  and  after  passing  through 
the  necessary  processes  is  brought  back  again  to  the 
designer’s  room  and  again  measured  and  weighed.  All  the 
items  obtained  should  be  inserted  in  a  book  where  they  can 
be  readily  referred  to,  in  order  that  information  regarding  the 
effects  of  the  different  processes  may  be  readily  accessible. 


16 


DESIGNING  IN  GENERAL 


§86 


The  cloth  is  then  cut  up  into  samples  and  the  best  of  them 
selected  to  be  sent  to  the  commission  house.  Several  sam¬ 
ples  from  this  lot  may  be  selected  by  the  commission  house 
as  being  suitable  to  put  on  the  market. 


SELLING  SAMPLES 

15.  After  a  certain  number  of  trial  samples  have  been 
selected,  it  is  necessary  to  make  what  are  termed  selling 
samples.  These  selling  samples  are  generally  woven  the 
same  width  as  the  regular  cloth,  and  should  pass  through  the 
same  processes,  since  only  by  this  means  can  there  be 
obtained  the  necessary  information  in  regard  to  the  appear¬ 
ance  of  the  finished  cloth  and  the  cost  of  manufacture. 
From  these  selling  samples  the  agents’  sample  books  are 
made,  and  it  then  remains  with  the  selling  house  to  place 
orders  for  the  different  samples  of  cloth. 

1G.  After  an  order  has  been  obtained  for  the  mill  it  is 
the  designer’s  duty  to  make  out  all  specifications  that  may 
be  necessary  for  the  reproduction  of  the  desired  cloth. 
Those  relating  to  the  warping,  beaming,  and  drawing-in 
departments  of  the  mill  should  be  sent  to  their  respective 
overseers,  while  all  the  specifications  regarding  harness 
drafts  and  chain  drafts  should  be  sent  to  the  overseer  of  the 
weave  room.  When  the  cloth  is  first  started  in  the  weave 
room,  the  designer  should  see  that  the  first  pieces  taken  off 
are  correct  in  every  particular,  after  which  it  may  be  safe  to 
assume  that  his  duties  regarding  that  special  line  of  goods 
are  completed.  _ 

CONCLUSION 

17.  Designing  is  by  no  means  a  modern  art.  The  tex¬ 
tile  museums  of  world-wide  renown,  such  as  those  in 
Florence  (Italy),  Crefeld  (Germany),  or  the  Museum  of 
Fine  Arts  in  Boston,  contain  fabrics  manufactured  centuries 
ago  that  exhibit  skill  in  designing,  taste  in  coloring,  and 
knowledge  of  cloth  structure  equal  to  most  modern  fabrics. 
It  is  not  possible  for  every  designer  to  visit  such  museums, 


86 


DESIGNING  IN  GENERAL 


17 


but  in  many  of  the  public  libraries  in  the  larger  cities  there 
are  books  on  decorative  art  or  historic  ornament  in  which 
many  of  these  fabrics  are  reproduced;  an  examination  of 
these  often  .leads  to  the  formation  of  new  ideas  and  is  cer¬ 
tainly  a  part  of  the  education  of  a  designer. 

Textile  designing  is  an  art  that  has  been  developed  to  a 
high  degree  in  Europe,  and  the  products  of  English,  French, 
and  German  designers  are  justly  esteemed.  It  is  therefore 
advantageous  to  designers  in  American  .mills  to  keep  in 
touch  with  what  is  being  done  in  Europe;  a  knowledge  of 
the  French  or  German  language  often  aids  a  designer  in 
this,  by  enabling  him  to  study  French  or  German  textile¬ 
designing  publications.  This,  however,  is  secondary  to 
securing  a  thorough  knowledge  of  the  manufacturing  con¬ 
ditions.  A  designer  should  never  cease  to  study  these — 
from  the  raw  material  to  the  finished  fabric — so  that  he  may 
have  a  knowledge  of  all  the  processes  that  lead  up  to  the 
production  of  the  fabric,  and  thus  learn  how  to  obtain  the 
most  artistic  effects  in  the  most  economical  manner. 


92- 


33 


A  SERIES  OF  QUESTIONS 
AND  EXAMPLES 


Relating  to  the  Subjects 
Treated  of  in  This  Volume 


It  will  be  noticed  that  the  various  Examination  Ques¬ 
tions  that  follow  have  been  given  the  same  section  numbers 
as  the  Instruction  Papers  to  which  they  refer.  No  attempt 
should  be  made  to  answer  any  of  the  questions  or  to  solve 
any  of  the  examples  until  the  Instruction  Paper  having  the 
same  section  number  has  been  carefully  studied. 


ELEMENTARY  TEXTILE 
DESIGNING 


EXAMINATION  QUESTIONS 

(1)  Explain  the  uses  of  design  paper. 

(2)  What  name  is  given  to  design  paper  that  has  twelve 
vertical  rows  and  sixteen  horizontal  rows  of  squares  enclosed 
by  heavy  lines? 

(3)  If  two  weaves  are  given,  in  one  of  which  the,  ends 
interlace  with  the  filling  twenty-four  times  in  24  picks,  while 
in  the  other  the  ends  interlace  with  the  filling  sixteen  times  in 
24  picks,  other  particulars  being  the  same,  which  weave  will 
require  the  longer  warp  to  weave  100  yards  of  cloth?  Why? 

(4)  What  is  meant  by  the  term  weave? 

(5)  Explain  what  is  meant  by  the  repeat  of  a  weave. 

(6)  Explain  what  a  marked  square  on  design  paper  repre¬ 
sents:  (a)  when  showing  the  weave;  (6)  when  showing  the 
drawing-in  draft;  ( c )  when  showing  the  chain  draft. 

(7)  Explain  what  a  horizontal  row  of  squares  on  the  design 
paper  represents:  (a)  when  showing  the  drawing-in  draft; 
( b )  when  showing  the  weave;  ( c )  when  showing  the  chain 
draft. 

(8)  Explain  what  a  vertical  row  of  squares  on  design 
paper  represents:  (a)  when  showing  the  weave;  ( b )  when 
showing  the  chain  draft;  (c)  when  showing  the  harness  draft. 

(9)  Explain  what  is  meant  by  the  term  harness  draft,  or 
drawing-in  draft. 


171 


2  ELEMENTARY  TEXTILE  DESIGNING  §71 

(10)  Explain  what  is  meant  by  the  term  chain  draft. 

(11)  Which  is  obtained  from  the  weave  first,  the  chain 
draft  or  the  drawing-in  draft? 

(12)  Explain  how  a  drawing-in  draft  is  made  from  a  weave. 

(13)  Explain  how  a  chain  draft  is  obtained. 

(14)  If  the  chain  draft  and  drawing-in  draft  of  a  weave 
are  given,  explain  how  the  effect,  or  weave,  is  obtained. 

(15)  Why  is  it  not  always  advisable  to  draft  a  weave  to 
the  lowest  number  of  harnesses  on  which  it  can  be  woven? 

(16)  Show  a  straight  draft  on  12  harnesses. 

(17)  Show  an  angled  draft  occupying  12  harnesses  and 
24  ends. 

(18)  Show  two  repeats  of  a  regular  point  draft  on 
12  harnesses. 

(19)  Show  the  chain  draft  and  the  harness  draft  for 
weave  207,  drawing  the  same  number  of  ends  through  each 
harness. 

Note. — In  all  cases  where  a  weave  is  referred  to  by  a  number, 
reference  is  made  to  the  weaves  in  Glossary  of  Weaves. 

(20)  Show  the  chain  draft  and  harness  draft  for  weave  207, 
drafting  it  down  to  the  smallest  number  of  harnesses  on 
which  it  can  be  woven. - 

(21)  Show  the  drawing-in  draft  and  chain  draft  for 
weave  307  with  the  same  number  of  ends  on  each  harness. 

(22)  Show  the  *  drawing-in  draft  and  chain  draft  for 
weave  307  when  drafted  to  the  lowest  number  of  harnesses 
on  which  it  can  be  woven. 

(23)  Show  the  harness  and  chain  drafts  for  weave  129, 
drafted  to  its  lowest  number  of  harnesses. 

(24)  Show  the  effect  that  would  be  produced  by  using 
Fig.  14  as  a  harness  draft  and  weave  190  as  a  chain  draft. 

(25)  Show  the  harness  and  chain  drafts  for  weave  198. 


ANALYSIS  OF  COTTON 
FABRICS 


EXAMINATION  QUESTIONS 

(1)  What  is  meant  by  the  term  cloth  analysis? 

(2)  What  is  meant  by  the  term:  (a)  warp  pattern? 
(6)  filling  pattern? 

(3)  How  can  the  face  of  a  small  sample  of  cloth  be 
distinguished  from  the  back? 

(4)  Why  is  it  necessary  to  distinguish  the  face  from  the 
back  of  a  fabric  before  dissecting? 

(5)  Name  several  methods  by  means  of  which  the  filling 
may  be  distinguished  from  the  warp  in  a  small  sample  of  cloth. 

(6)  What  effect  would  it  have  regarding  the  marks  on 
design  paper  if  the  warp  were  mistaken  for  the  filling,  and 
vice  versa? 

(7)  Why  is  it  necessary  sometimes  to  place  the  warp  yarn 
on  more  than  one  beam? 

(8)  What  is  the  quickest  method  of  distinguishing  cotton 
from  wool,  worsted,  or  silk? 

(9)  Name  some  of  the  chief  points  that  should  be  con¬ 
sidered  in  order  to  obtain  the  best  results  when  making  a 
harness  draft  from  a  weave. 

(10)  If  the  warp  for  a  piece  of  cloth  is  reeded  34  inches 

and  the  woven  width  is  32  inches,  what  is  the  percentage  of 
contraction?  Ans.  5.882  per  cent. 

I  72 


2 


ANALYSIS  OF  COTTON  FABRICS 


§72 


(11)  If  it  is  desired  to  weave  100  yards  of  cloth  and  it  is 
known  that  the  warp  yarn  will  contract  5  per  cent.,  what  will 
have  to  be  the  length  of  the  warp  yarn  before  being  woven? 

Ans.  105.263  yd. 

(12)  If  a  warp  contains  2,800  ends  and  is  drawn  in 

straight  on  16  harnesses,  how  many  heddles  will  there  be 
on  each  harness?  Ans.  175  heddles 

(13)  If  a  piece  of  cloth  3  inches  by  4  inches  weighs 

10  grains,  what  are  the  yards  per  pound  if  the  cloth  is 
28  inches  wide?  Ans.  8i  yd.  per  lb. 

(14)  Suppose  that  a  warp  is  drawn  through  the  har¬ 
nesses  as  follows:  First,  16  ends  drawn  straight  on  4  har¬ 
nesses;  second,  16  ends  drawn  1,  3,  2,  4,  in  succession;  show 
the  effect  that  will  be  produced  if  one  repeat  of  weave  28 
in  the  Glossary  of  Weaves  is  used  as  a  chain  draft. 

(15)  Give  harness  and  chain  drafts  for  weave  132  in  the 
Glossary  of  Weaves ,  drafting  it  on  the  lowest  number  of 
harnesses. 


(16)  Suppose  that  a  piece  of  cloth  is  woven  with  the 
harness  and  chain  drafts  given  in  answer  to  the  previous 
question;  how  many  heddles  will  there  be  on  each  harness 
if  the  warp  contains  1,500  ends?  Do  not  consider  selvages. 


Ans. 


250  on  first 
500  on  second 
500  on  third 
250  on  fourth 


(17)  How  wide  will  the  warp  used  in  question  16  be  at 
the  reed  if  a  reed  with  24  dents  per  inch  is  used,  drawing 
the  ends  2  in  a  dent  and  allowing  i  inch  on  each  side  for 
selvage?  Ans.  31.75  in. 


(18)  If  the  counts  of  the  warp  used  in  question  16  are  36s, 
what  will  be  the  weight  of  warp  yarn  in  1  yard  of  cloth,  the 
selvage  ends  being  drawn  4  per  dent  and  being  the  same 
counts  as  the  rest  of  the  warp?  Allow  5  per  cent,  for  con¬ 
traction  and  10  per  cent,  for  size.  Ans.  .059  lb. 


§72 


ANALYSIS  OF  COTTON  FABRICS 


3 


(19)  Suppose  that  the  filling  for  the  cloth  used  in  ques¬ 
tion  16  is  40s  and  52  picks  per  inch  are  placed  in  the  cloth; 
what  will  be  the  weight  of  filling  in  1  yard  of  cloth? 

Ans.  .049  lb. 

(20)  What  will  be  the  yards  per  pound  of  a  cloth  con¬ 

structed  according  to  the  particulars  given  in  questions  16, 
17,  18,  and  19?  Ans.  9.259  yd.  per  lb. 

(21) -(25)  The  analysis  of  the  cloth  sample  enclosed, 
together  with  the  requirements  filled  out  on  the  proper 
analysis  sheet,  will  be  considered  as  equivalent  to  ques¬ 
tions  21  to  25,  inclusive. 


ANALYSIS  OF  WOOLEN 
AND  WORSTED  FABRICS 


EXAMINATION  QUESTIONS 

(1)  What  is  meant  by  the  term  cloth  analysis? 

(2)  Explain  what  is  meant  by  the  terms:  (a)  warp  pat¬ 
tern;  (b)  filling  pattern. 

(3)  Why  is  it  necessary  to  determine  the  face  of  a  fabric 
before  picking  out  the  weave? 

(4)  Name  several  methods  by  means  of  which  it  can  be 
determined  which  is  warp  and  which  is  filling  in  a  small 
sample  of  cloth. 

(5)  What  effect  would  it  have  on  the  pick-out  if  the 
filling  were  mistaken  for  warp  when  finding  the  weave  of  a 
sample  of  cloth? 

(6)  (a)  What  is  the  quickest  method  of  distinguishing 
woolen,  worsted,  or  silk  from  cotton?  (b)  How  can  woolen 
yarn  be  distinguished  from  worsted  yarn? 

(7)  Why  is  it  sometimes  necessary  to  place  the  warp 
yarn  on  more  than  one  beam? 

(8)  If  a  piece  of  cloth  is  34  inches  wide  in  the  reed  and 
the  finished  width  is  28  inches,  what  is  the  percentage  of 
shrinkage  from  reed  to  finished  cloth?  Ans._  17.647  per  cent. 

(9)  It  is  desired  to  obtain  94  yards  of  finished  cloth  and 
the  warp  will  take  up  6  per  cent,  in  weaving;  the  shrinkage 

l  73 


2 


ANALYSIS  OF 


§73 


of  the  cloth  in  length  in  finishing  is  20  per  cent.  What  is 
the  length  of  warp  required?  Ans.  125  yd. 

(10)  What  are  some  of  the  points,  besides  the  interla¬ 
cings  of  the  ends  of  the  weave,  to  be  considered  when 
making  a  drawing-in  draft? 

(11)  If  a  warp  contains  2,800  ends  and  is  drawn  in 

straight  on  16  harnesses,  how  many  heddles  will  be  required 
on  each  harness?  Ans.  175 

(12)  If  a  piece  of  cloth  3  inches  by  4  inches  weighs 

35  grains,  what  is  the  weight  of  the  cloth,  in  ounces  per 
yard  if  it  is  36  inches  wide?  Ans.  8.64  oz. 

(13)  Make  harness  and  chain  drafts  for  the  weave  200, 
Glossary  of  Weaves,  so  as  to  weave  the  pattern  with  the  least 
possible  number  of  harnesses. 

(14)  Suppose  that  a  piece  of  cloth  is  woven  with  the 

above  harness  and  chain  drafts;  how  many  heddles  will  be 
required  on  each  harness  if  the  warp  contains  1,200  ends 
and  2  ends  are  drawn  through  each  heddle  eye?  Neglect 
selvages.  ^  1 150  heddles  on  first  and  third  harnesses 

'1300  heddles  on  second  harness 

(15)  What  will  be  the  width  in  the  reed  of  the  above 
warp  if  it  is  drawn  two  in  a  dent  of  a  15s  reed  and  20  ends 
are  added  on  each  side  of  the  warp  for  selvages? 

Ans.  41.333  in. 

(16)  If  the  warp  in  the  above  cloth  is  composed  of  3-run 

yarn,  what  will  be  the  weight  of  warp  yarn  in  1  yard  of  cloth 
from  the  loom,  including  selvage  ends?  Allow  4  per  cent, 
for  warp  contraction  in  weaving.  Ans.  4.29  oz. 

(17)  Suppose  that  there  are  26  picks  per  inch  of  3-run 

filling  in  the  above  cloth:  (a)  what  will  be  the  weight  of 
the  filling  in  1  yard?  ( b )  what  is  the  weight  in  ounces  of 
the  cloth  from  the  loom?  j  (a)  3.58  oz. 

!(?;)  7.87  oz. 

(18)  If  44  inches  of  worsted  yarn  weighs  .7  grain,  what 

are  the  counts  of  the  yarn?  Ans.  21.82s 


§73 


WOOLEN  AND  WORSTED  FABRICS 


3 


(19)  If  30  inches  of  woolen  yarn  weighs  1.2  grains,  what 

run  is  the  yarn?  Ans.  3.03-run 

(20)  Suppose  that  a  sample  of  cloth  contains  wool  and 
cotton,  the  two  fibers  having  been  mixed  in  the  raw  stock; 
how  can  the  percentage  of  each  be  ascertained? 

(21 ) — (25)  The  analysis  of  the  cloth  sample  submitted 
with  this  Section  with  the  requirements  filled  out  on  the 
proper  analysis  sheet  will  be  considered  as  equivalent  to 
questions  21  to  25,  inclusive. 


TWILL  WEAVES  AND 
DERIVATIVES 


EXAMINATION  QUESTIONS 

(1)  Explain  how  a  regular  twill  differs  from  the  plain 
weave. 

(2)  If  a  regular  twill  that  is  complete  on  8  ends  is 
changed  to  a  regular  point  twill,  how  many  ends  will  it 
occupy? 

(3)  Explain  what  is  meant  by  the  term  derivative. 

(4)  How  can  a  wave  effect  lengthwise  of  the  cloth  be 
formed? 

(5)  If  a  regular  8x8  twill  is  repeated  twice  in  its  picks, 
how  many  ends  and  picks  will  it  occupy  on  the  design  paper? 

(6)  If  a  3-end  twill  is  combined  end  and  end  with  a  7-end 
twill,  how  many  ends  and  picks  will  the  resulting  weave 
occupy? 

(7)  Explain  in  what  manner  a  skip  twill  differs  from  a 
regular  twill. 

(8)  Explain  in  what  manner  a  pointed  twill  differs  from 
a  regular  twill. 

(9)  Suppose  that  an  8-end  regular  twill  is  to  be  com¬ 
bined  pick  and  pick  with  a  4-end  regular  twill  by  taking  2 
picks  of  the  8-end  twill  and  then  1  pick  of  the  4-end  twill; 
how  many  ends  and  picks  will  the  new  weave  occupy? 

i  76 


2 


TWILL  WEAVES  AND  DERIVATIVES  §75 


(10)  Explain  the  terms:  (a)  equally  flush;  ( b )  warp 
flush;  ( c )  filling  flush. 

(11)  A  regular  12  X  12  twill  is  to  be  rearranged  by 
taking  the  ends  in  satin  order  moving  on  a  base  of  5;  show 
by  numbers  the  order  in  which  the  ends  will  be  taken. 

(12)  Make  an  entwining  twill  having  three  twill  lines  in 
each  section  with  the  cassimere  twill  ^  as  a  base. 

(13)  Show  two  repeats  in  both  ends  and  picks  of  a 
regular  ■3t8t  twill. 

(14)  Fig.  I  shows  the  first  2  picks  of  a 

.... 

1 -  regular  twill;  complete  the  weave. 

Fig.  I 

(15)  («)  Combine  the  weaves  184  and 
28,  Glossary  of  Weaves,  end  and  end;  ( b )  combine  them  pick 
and  pick. 

(16)  From  the  regular  45°  twill  construct  a  fancy 
twill. 

(17)  Construct  a  regular  45°  twill  with  the  base 

and  from  this  twill  form  a  weave  that  will  show  a  wave 
effect  lengthwise  of  the  cloth. 

(18)  From  the  regular  45°  twill  that  has  the  base  -VS-, 
form  a  weave  that  will  show  a  wave  effect  across  the  cloth. 

(19)  From  the  regular  45°  twill  with  the  base  3t23,  con¬ 
struct  a  diamond  weave. 

(20)  Make  a  63°  shaded  diagonal  weave  from  the  regular 
twill  'aVrVir. 

(21) - (25)  The  analysis  of  the  cloth  sample  submitted 
with  this  Section,  with  the  requirements  filled  out  on  the 
proper  analysis  sheet,  will  be  considered  as  equivalent  to 
questions  21  to  25,  inclusive. 


SATIN  AND  OTHER 
WEAVES 


EXAMINATION  QUESTIONS 

(1)  Explain  in  what  manner  a  satin  weave  differs  from  a 
twill. 

(2)  How  can  it  be  determined  whether  a  satin  weave,  as 
shown  on  design  paper,  is  a  warp  satin  or  a  filling  satin? 

(3)  State  the  chief  features  of  granite  weaves. 

(4)  Explain  two  methods  of  making  a  double  satin. 

(5)  State  the  different  numbers  that  may  be  used  as  a 
base  for  a  satin  weave  occupying  14  ends  and  14  picks. 

(6)  How  could  you  distinguish  a  warp  rib  from  a  filling  rib? 

(7)  Explain  the  difference  that  exists  between  rib  and 
corkscrew  weaves. 

(8)  A  warp  satin  is  arranged  as  follows:  1,  6,  11,  5,  10, 

4,  9,  3,  8,  2,  7:  (a)  How  many  ends  does  the  satin  occupy? 

( b )  What  base  is  used  to  move  the  ends?  (r)  State  which 
end  is  moved  on  each  pick  in  one  repeat  of  the  weave. 
(d)  Do  the  numbers  given  in  this  question  show  that  the 
ends  are  lowered  or  that  they  are  raised? 

(9)  Give  the  names  of  the  different  types  of  basket 
weaves  and  explain  the  manner  in  which  they  differ. 

(10)  If  a  warp  corkscrew  is  formed  by  combining  the 
two  regular  twills  ^3  and  i-r,  how  many  ends  and  picks 
will  it  occupy? 


02—34 


276 


2 


SATIN  AND  OTHER  WEAVES 


§76 


(11)  («)  Construct  a  warp  satin  weave  on  9  ends,  using 
5  as  a  base,  (b)  Construct  a  filling  satin  on  the  same  num¬ 
ber  of  ends,  using  the  same  base. 

(12)  Construct  a  7-end  warp  satin,  using  4  as  a  base,  and 
from  this  weave  construct  a  double  satin  by  lowering  an 
extra  end  on  each  pick. 

(13)  From  the  weave  shown  in  Fig.  25  construct  a  fancy 
basket. 

(14)  Construct  a  warp-rib  weave  that  will  occupy  12 
picks  and  have  its  ribs  equal. 

(15)  Construct  a  filling-rib  weave  that  will  occupy  12 
ends  and  have  its  ribs  equal. 

(16)  Construct  a  warp  corkscrew  weave  with  the  first 
end  marked  ^r. 


(17)  Construct  a  warp  corkscrew  weave  with  the  first 
end  marked  ^r. 

(18)  Construct  a  honeycomb  weave  on  6  harnesses. 

(19)  Fig.  I  shows  the  first  4  picks  of  a  design;  complete 

the  weave. 

(20)  Give  the  harness 
and  chain  drafts  for  the 
weave  given  in  answer  to 
question  17,  drafting  it  down  to  the  lowest  number  of 
harnesses. 


□■■□□■a 

BdBdBdB 

BBddBBd 

□BdBdBd 


Fig.  I 


(21 )— ( 25)  The  analysis  of  the  cloth  sample  submitted 
with  this  Section,  with  the  requirements  filled  out  on  the 
proper  analysis  sheet,  will  be  considered  as  questions  21  to 
25,  inclusive. 


COMBINATION  WEAVES 


EXAMINATION  QUESTIONS 

(1)  What  special  points  should  be  taken  into  considera¬ 
tion  when  combining-  weaves? 

(2)  State,  in  your  own  words,  what  is  meant  by  trans¬ 
posing  a  weave. 

(3)  Explain  briefly  how  a  weave  may  be  made  from  a 
motive. 

(4)  What  would  be  the  objection  to  combining  a  weave 
whose  ends  make  twelve  interlacings  in  16  picks  with  one 
whose  ends  make  four  interfacings  in  16  picks? 

(5)  State  three  methods  of  forming  a  stripe  weave. 

(6)  Explain  what  is  meant  by  single-end  stripes. 

(7)  Considering  Fig.  18  (a)  as  a  motive,  construct  a 
weave  that  will  be  complete  on  15  ends  and  15  picks  using  the 
prunelle  twills,  warp-  and  filling-flush.  Make  the  weaves  cut. 

(8)  Give  the  harness  and  chain  drafts  for  the  weave  shown 
in  Fig.  14  (e) ,  drawing  the  ends  on  6  harnesses. 

(9)  Show  the  harness  and  chain  drafts  for  weave  317, 
Glossary  of  Weaves,  drafted  to  its  lowest  number  of  harnesses. 

(10)  Using  weave  185,  Glossary  of  Weaves,  as  a  motive, 
construct  a  design  on  24  ends  and  24  picks  with  the  warp-  and 
filling-flush  prunelle  weaves.  Make  the  weaves  cut. 

(11)  Make  a  stripe  design  that  will  repeat  on  16  ends  by 
using  the  warp-  and  filling-flush  broken  crow  weaves  repeated 
in  the  ends.  Make  the  weaves  cut  perfectly. 

1 77 


2  COMBINATION  WEAVES  §77 

(12)  Give  a  harness  draft  on  20  ends  that  will  give  a 
single-end  stripe  in  the  cloth  when  using  the  S  twill. 

(13)  Form  a  check-weave  using  weaves  83  and  84, 
Glossary  of  Weaves.  Have  the  weaves  cut  perfectly. 

(14)  Make  a  stripe  by  combining  the  S  regular  twill  with 
the  S  regular  basket  weave. 

(15)  Form  a  check-weave  by  reversing  weave  136, 
Glossary  of  Weaves. 

(16)  Show  harness  and  chain  drafts  for  Fig.  21,  using 
the  least  number  of  harnesses  possible. 

(17)  Make  a  check-weave  on  36  ends  and  36  picks  with 
the  12-end  warp-  and  filling-flush  satin  weaves. 

(18)  Originate  a  weave,  by  the  four-change  method,  using 
the  2  ■; 3  g  regular  twill  as  a  foundation  weave. 

( 19)  Originate  a  weave,  by  the  four-change  method,  using 
the  -1— S  regular  twill  as  a  foundation  weave.  Show  weave 
repeated  on  24  ends  and  24  picks. 

(20)  Make  a  single-end  stripe  on  30  ends  with  the  S  twill. 

(21-25)  The  analysis  of  the  cloth  sample  submitted  with 
this  Section  with  the  requirements  filled  out  on  the  proper 
analysis  sheet  will  be  considered  as  questions  21  to  25, 
inclusive. 


l- 


CONSTRUCTION  OF  SPOT 
WEAVES 


EXAMINATION  QUESTIONS 

( 1 )  Explain,  briefly,  how  spot  weaves  are  formed  with  one 
system  of  warp  and  one  system  of  filling. 

(2)  What  points  should  be  considered  when  selecting  and 
marking  the  ground  weave  for  a  warp-spot  design  having 
only  one  system  of  warp  and  one  of  filling? 

(3)  Explain  the  method  employed  for  ascertaining  the 
correct  position  of  each  spot  when  constructing  a  design  in 
which  the  spots  are  to  be  arranged  in  a  definite  order. 

(4)  Explain  what  is  meant  by  the  statement  that  a  spot  is 
arranged  in  5-end  satin  order. 

(5)  State  what  is  meant  by  the  term  ground  weave  as 
applied  to  spot  designs. 

(6)  Explain  the  difference  between  an  extra-warp  spot 
design  and  one  that  is  to  be  woven  with  but  one  system  of 
warp  and  filling. 

(7)  Explain  the  difference  between  an  extra-warp  and  an 
extra-filling  spot  design. 

(8)  Explain  why  the  extra  warp  in  a  cloth  figured  with 
extra  warp  does  not  show  on  the  face  while  it  is  not  being 
actually  used  for  figuring. 


2 


CONSTRUCTION  OF  SPOT  WEAVES  §78 


(9)  Explain  what  is  meant  by  tying,  and  state  how  this 
should  be  done  in  extra-warp  designs  and  also  in  extra-filling 
designs. 

(10)  Show  Fig.  I  arranged  in  5-end  satin  order  on  20 
ends  and  20  picks. 

(11)  Complete  the  design  shown  in  answer  to  ques¬ 
tion  10  by  inserting  a  plain  ground  weave,  the  spots  to 

be  formed  by  the  warp. 

(12)  Arrange  the  spot  shown  in  Fig.  I  in 
plain  order  on  20  ends  and  20  picks  and  insert 
a  plain  ground  weave,  the  spots  to  be  formed 
by  the  filling. 

(13)  Show  Fig.  II  arranged  in  5-end  satin 
order  on  30  ends  and  30  picks. 

(14)  Complete  the  design  shown  in  answer  to  ques¬ 
tion  13  by  inserting  a  plain  ground 
weave. 

(15)  Make  an  extra-warp  design  from 
the  spot  arrangement  shown  in  Fig.  16  (a) , 
using  a  plain  ground  weave. 

(16)  Make  an  extra-warp  design  from 
the  spot  arrangement  shown  in  answer  to 
question  13,  using  the  prunelle  twill  as  a  ground  weave. 

(17)  Convert  the  spot  arrangement  shown  in  answer  to 
question  10  into  an  extra-filling  design,  using  a  plain  ground 
weave. 

(18)  Convert  the  spot  arrangement  shown  in  answer  to 
question  13  into  an  extra-filling  design,  using  the  warp-flush 
prunelle  twill  as  a  ground  weave. 

(19)  ( a )  Show  harness  and  chain  drafts  for  the  weave 

made  in  answer  to  question  15.  ( b )  Show  harness  and 

chain  drafts  for  the  weave  made  in  answer  to  question  16. 


□□■□□□□□ 


□□□ 

■  ■■■■□■■  ■■■ 


Fig.  II 


□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□■□□□□□ 

■■■■■□□□ 

□□■□□□□□ 


Fig.  I 


§78 


CONSTRUCTION  OF  SPOT  WEAVES 


3 


(20)  Make  an  original  extra-warp  design  on  48  ends  and 
24  picks.  Show  harness  and  chain  drafts. 

(21)  -(25)  The  analysis  of  the  cloth  sample  submitted  with 
this  Section,  with  the  requirements  filled  out  on  the  proper 
analysis  sheet,  will  be  considered  as  questions  21  to  25, 
inclusive. 


WEAVES  FOR  BACKED 
COTTON  FABRICS 


EXAMINATION  QUESTIONS 

(1)  Explain  the  difference  that  exists  between:  (a)  a 
warp-backed  fabric  and  a  fabric  figured  with  extra  warp; 
(b)  a  filling-backed  fabric  and  a  fabric  figured  with  extra 
filling. 

(2)  In  a  warp-backed  design,  how  should  the  tying 
places  be  arranged  so  that  they  will  not  show  on  the  face 
of  the  goods,  and  what  can  be  said  in  regard  to  the  order 
of  their  distribution? 

i  (3)  How  should  the  tying  places  be  arranged  in  a  filling- 
backed  fabric,  and  if  it  is  not  possible  to  arrange  them  in  a 
perfect  manner,  what  is  the  next  best  method  to  adopt? 

(4)  Would  it  be  easier  to  back  a  warp  flush  with  warp  or 
with  filling?  Give  reasons  for  your  answer. 

(5)  What  can  be  said  in  regard  to  the  type  of  loom  suit¬ 
able  for:  (a)  warp-backed  fabrics?  (b)  filling-backed  fabrics? 

(6)  If  two  cloths  of  similar  texture  are  backed,  one  with 
warp  and  the  other  with  filling,  which  can  be  woven  more 
rapidly?  Give  reasons. 

(7)  Which  style  of  cloth  requires  more  harnesses,  warp- 
or  filling-backed?  Give  reasons. 

i  79 


2  WEAVES  FOR  §79 

(8)  State  the  steps  that  are  taken  in  making  a  filling- 
backed  design,  giving  them  in  their  proper  order. 

(9)  State  three  methods  of  drawing  in  the  ends  of  a 
warp-backed  fabric. 

(10)  State  the  steps  that  are  taken  in  making  a  pique 
design,  giving  them  in  their  proper  order. 

(11)  Give  the  harness  and  chain  drafts  for  Fig.  28,  draft¬ 
ing  the  weave  on  its  lowest  number  of  harnesses  and  draw¬ 
ing  the  back  ends  on  the  back  harness. 

(12)  Give  harness  and  chain  drafts  for  the  weave 
shown  in  Fig.  25  (a),  drawing  the  back  ends  on  the  front 
harnesses. 

(13)  Give  harness  and  chain  drafts  for  the  weave  shown 
in  Fig.  20,  drawing  the  face  ends  on  the  front  harnesses. 

(14)  Back  weave  316,  Glossary  of  Weaves,  with  filling, 
the  weave  to  be  arranged  1  face,  1  back;  tie  each  end  per¬ 
fectly,  similar  to  that  shown  in  Fig.  7. 

(15)  Back  weave  331,  Glossary  of  Weaves,  with  filling, 
the  weave  to  be  arranged  1  face,  1  back,  1  face,  each  backing 
pick  to  be  tied  perfectly  in  every  8  ends. 

(16)  Back  weave  368,  Glossary  of  Weaves,  with  warp,  the 
weave  to  be  arranged  1  face,  1  back;  tie  each  end  twice, 
making  perfect  ties,  and  show  harness  and  chain  drafts  with 
the  backing  warp  drawn  through  the  back  harnesses. 

(17)  Back  weave  322,  Glossary  of  Weaves,  with  warp,  the 
weave  to  be  arranged  1  face,  1  back;  tie  each  end  perfectly 
and  show  harness  and  chain  drafts  with  the  backing  warp 
drawn  through  the  back  harnesses. 

(18)  The  ends  in  a  pique  design  are  arranged  1  face, 
1  back,  and  1  face;  the  first  4  picks  are  face;  the  next  4,  wad¬ 
ding;  the  next  4,  face;  and  the  next  2,  face  and  cutting. 
Show  the  complete  design  and  extend  it  for  12  ends  and 
14  picks;  use  the  plain  weave  for  the  face. 


§79 


BACKED  COTTON  FABRICS 


3 


(19)  Give  the  chain  draft  for  the  weave  shown  in 
Fig-.  30  (a)  when  drawn  in  according  to  the  drawing-in  draft 
shown  in  Fig.  30  ( b ). 

(20-25)  The  analysis  of  the  cloth  sample  submitted  with 
this  Section  with  the  requirements  filled  out  on  the  proper 
analysis  sheet  will  be  considered  as  questions  20  to  25, 
inclusive. 


WOOLEN  AND  WORSTED 
PLY  WEAVES 


EXAMINATION  QUESTIONS 

(1)  Explain  the  following  terms:  (a)  backed  cloth;  ( b ) 
double  cloth;  ( c )  triple  cloth. 

(2)  (a)  In  a  filling-backed  weave,  how  should  the  tying 
places  be  arranged  so  that  they  will  not  show  on  the  face  of 
the  goods,  and  what  can  be  said  in  regard  to  the  order  of  dis¬ 
tribution  of  the  tying  places?  ( b )  What  can  be  said  of  the 
above  in  regard  to  warp-backed  weaves? 

(3)  Would  it  be  easier  to  back  a  warp-flush  weave  with 
warp  or  with  filling? 

(4)  What  can  be  said  in  regard  to  the  type  of  loom  suit¬ 
able  for:  (a)  warp-backed  cloths?  ( b )  filling-backed  cloths? 

(5)  (a)  If  two  cloths  of  similar  texture  are  backed,  one 
with  warp  and  the  other  with  filling,  which  can  be  woven 
more  rapidly?  Give  reasons,  (b)  Does  a  filling-backed  fabric 
require  more  harnesses  than  a  warp-backed  fabric?  Explain. 

(6)  (a)  What  is  a  warp  reversible?  ( b )  What  is  a  fill¬ 
ing  reversible?  ( 

(7)  Discuss  fully  the  tying  of  double  cloths,  mentioning 
the  effect  of  a  large  number  of  tying  places,  the  best  order 
of  distribution,  etc. 

(8)  Name  three  methods  of  making  the  harness  draft  for 
a  double  cloth. 


|80 


2 


WOOLEN  AND  WORSTED  PLY  WEAVES  §80 


(9)  What  is  the  method  employed  for  tying  double  plain 
stripes  and  checks? 

(10)  A  triple-cloth  weave  is  arranged  1  face,  1  center, 
1  back.  The  face  weave  is  complete  on  12  ends  and  12  picks, 
the  center  weave  on  6  ends  and  6  picks,  and  the  backing  weave 
on  4  ends  and  4  picks.  Both  systems  of  tying  are  accom¬ 
plished  in  12-end  satin  order.  On  how  many  ends  and  picks 
will  the  weave  be  complete? 

(11)  Back  the  weave  316,  Glossary  of  Weaves,  with  filling 
arranged  1  face,  1  back.  Tie  each  end  perfectly. 

(12)  Back  the  weave  331,  Glossary  of  Weaves,  with  filling, 
the  design  to  be  arranged  1  face,  1  back,  1  face  and  each 
backing  pick  to  be  tied  perfectly  in  every  8  ends. 

(13)  Back  the  weave  368,  Glossary  of  Weaves,  with  warp 
arranged  1  face,  1  back.  Tie  each  backing  end  twice,  making 
perfect  ties.  Show  harness  and  chain  drafts  with  the  back¬ 
ing  warp  drawn  in  on  the  back  harnesses. 

(14)  Back  the  weave  322,  Glossary  of  Weaves,  with  warp 
arranged  1  face,  1  back.  Tie  each  end  perfectly  and  show 
harness  and  chain  drafts  with  the  backing  warp  drawn  on  the 
back  harnesses. 

(15)  Make  a  cut  double-cloth  weave  on  the  2  face,  1  back 
principle,  having  the  cut  marks  running  in  the  direction  of 


□□□■■□■a 

□□BBDBBD 

BBDDDBBD 

BDDDBBDB 

BDBBDDDB 

□BBDDDBB 

□BBDBBDD 

BBDBBDDD 

□□□BBDBB 

□□BBDBBD 

BBDDDBBD 

BDDDBBDB 

BDBBDDDB 

□BBDDDBB 

□BBDBBDD 

BBDBBDDD 

□□□BBDBB 

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BBDDDBBD 

BDDDBBDB 

BDBBDDDB 

□BBDDDBB 

□BBDBBDD 

BBDBBDDD 

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BBDDDBBD 

BDDDBBDB 

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BBDBBDDD 

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BDDBDDBB 

BDDBBBDD 

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BBDDBDDB 

BBBDDBDD 

□DBDDBBB 

BDDBDDBB 

BDDBBBDD 

DBDDBBBD 

□BBBDDBD 

□DBBBDDB 

BBDDBDDB 

BBBDDBDD 

Fig.  I 


the  warp  only.  Use  Fig.  I  for  the  face  weave  and  the  plain 
weave  for  the  back. 

(16)  Make  an  original  double-cloth  weave  to  be  bound 
perfectly  in  8-end  satin  order.  Show  each  step  in  its  con¬ 
struction  separately.  Show  harness  and  chain  drafts  with 
the  backing  warp  drawn  on  the  face  harnesses  and  also 
with  the  backing  warp  drawn  on  the  back  harnesses. 


80  WOOLEN  AND  WORSTED  PLY  WEAVES 


3 


(17)  Make  a  double  plain  stripe  weave  that,  if  warped 
and  picked  1  black  and  1  red,  will  show  a  red  stripe  4  ends 
in  width  and  a  black  stripe  8  ends  in  width  on  the  face  of 
the  cloth,  and  a  black  stripe  4  ends  in  width  and  a  red  stripe 
8  ends  in  width  on  the  back  of  the  cloth. 

(18)  Make  a  section  of  the  above  design  after  the  style 
of  Fig.  62. 

(19)  Make  a  double  plain  checker-board  weave  on  16  ends 
and  picks  that,  if  dressed  and  woven  1  blue  and  1  white,  will 
show  solid  checks  of  blue  and  white  on  each  side  of  the  cloth. 

(20)  Make  an  original  triple-cloth  weave,  showing  each 
step  in  the  construction  separately.  Show  harness  and  chain 
drafts. 

(21-25)  The  analysis  of  the  cloth  sample  submitted  with 
this  Section  with  the  requirements  filled  out  on  the  proper 
analysis  sheet  will  be  considered  as  questions  21  to  25, 
inclusive. 


LENO  WEAVES 


EXAMINATION  QUESTIONS 

Note. — In  answering  the  following  Examination  Questions  the 
representation  of  the  weaves,  the  harness  drafts,  and  the  chain  drafts 
should  be  made  on  the  principle  of  those  shown  and  adopted  in  this 
Section.  In  the  case  of  harness  drafts,  the  various  harnesses  should 
be  designated  by  their  correct  names,  as  should  also  be  done  in  the 
case  of  chain  drafts,  and  in  the  latter  the  first  pick  should  be  indicated 
and  also  the  harnesses  that  are  to  be  operated  by  the  yoke  and  jumper. 

(1)  State,  briefly,  the  principal  characteristics  of  leno 
fabrics. 

(2)  State  whether  the  doup  end  crosses  over  or  under 
the  ground  end  before  being  drawn  through:  (a)  a  bottom 
doup;  (b)  a  top  doup. 

(3)  (a)  With  a  close-shed  loom,  how  is  the  doup  end, 
when  drawn  through  a  bottom  doup,  raised  to  form  a  plain 
gauze  weave?  (b)  State  on  which  pick  the  slackener  is 
operated. 

(4)  State  whether  right-  or  left-hand  doups  are  required 
when  the  doup  ends  are  drawn  in  as  in  Fig.  13. 

(5)  Explain  the  objects  of  the  yoke  and  the  jumper. 

(6)  State  the  principal  advantage  of  top  doups. 

(7)  Suppose  that  in  weaving  a  leno  stripe  design  the 
following  harnesses  are  used:  1  doup,  1  standard,  1  ground, 
1  back,  and  6  harnesses  for  weaving  plain  stripes  between 
the  leno  stripes;  state  the  order  from  front  to  back  of  arran¬ 
ging  these  harnesses  in  the  loom. 

(8)  vState  three  methods  by  which  the  characteristic  leno 
effects  of  any  weave  may  be  made  more  prominent  independ¬ 
ently  of  the  weave  itself. 


2  81 


2 


LENO  WEAVES 


§81 


Fig.  I 


H  9  I 

Fig.  II 


§81 


LENO  WEAVES 


3 


(9)  Explain  the  method  followed  when  determining  the 
number  of  sets  of  doup  ends  in  a  piece  of  leno  cloth. 

(10)  State  how  a  leno  effect  may  be  obtained  on  an 
open-shed  dobby  without  the  use  of  additional  mechanisms 
to  cause  the  doup  and  the  ground  ends  to  meet  between  suc¬ 
cessive  picks. 

(11)  Explain,  fully,  why  it  is  necessary  to  give  instruc¬ 
tions  in  regard  to  attaching  the  doups  to  the  doup  harness. 

(12)  Show  a  drawing-in  draft  for  8  ends  drawn  in  from 
left  to  right  as  follows,  using  bottom  doups:  First  4  ends 
consist  of  a  doup  end  drawn  through  a  right-hand  doup  and 
crossing  3  ground  ends;  second  4  ends  consist  of  a  doup  end 
drawn  through  a  left-hand  doup  and  crossing  3  ground  ends. 
Draw  all  of  the  ground  ends  on  1  harness. 

(13)  Show  a  chain  draft  for  an  open-shed  dobby  to  agree 
with  the  drawing-in  draft  given  in  answer  to  question  12 
if  it  is  desired  to  have  the  doup  ends  cross  the  ground  ends 
between  every  2  picks. 

(14)  Show,  by  a  sketch  made  on  the  principle  of  Fig.  26, 
the  effect  that  will  be  produced  with  the  harness  and  chain 
drafts  given  in  answer  to  questions  12  and  13. 

(15)  Sketch  the  effect  that  will  be  produced  with  Fig.  25 
for  a  drawing-in  draft  and  Fig.  29  for  a  chain  draft. 

(16)  Give  drawing-in  draft  for  Fig.  I,  using  right-hand 
doups,  placing  the  ends  weaving  plain  on  2  harnesses. 

(17)  Give  chain  draft  to  accompany  the  drawing-in  draft 
given  in  answer  to  question  16. 

(18)  Give  drawing-in  draft  for  Fig.  II,  using  left-hand 

doups.  • 

(19)  Give  chain  draft  to  accompany  the  drawing-in  draft 
given  in  answer  to  question  18. 

(20)  Show  the  harness  and  chain  drafts  required  for  the 
cloth  sample  submitted  with  this  Section  if  it  is  to  be  woven 
on  an  open-shed  dobby. 


PILE  WEAVES 


EXAMINATION  QUESTIONS 

(1)  (a)  What  is  the  meaning:  of  the  term  pile  fabric? 

( b )  What  general  division  of  pile  fabrics  can  be  made  accord¬ 
ing  to  their  structure? 

(2)  Give  a  general  description  of  the  manner  in  which 
filling-pile  fabrics  are  produced. 

(3)  What  is  the  general  principle  involved  in  the  con¬ 
struction  of  warp-pile  fabrics? 

(4)  What  is  the  distinction  between  velveteen  and  true 
velvet? 

(5)  How  is  the  pile  cut  in  a  warp-pile  fabric? 

(6)  (a)  How  is  the  density  of  the  pile  altered  in  filling- 
pile  fabrics?  (b)  How  is  the  length  of  the  pile  altered? 

( c )  How  is  the  length  of  the  pile  in  warp-pile  fabrics 
altered? 

(7)  How  can  warp-pile  plushes  be  produced  without  the 
aid  of  wires? 

(8)  How  are  terry  towels  produced? 

(9)  Describe  the  structure:  (a)  of  a  tapestry  carpet; 
(b)  of  a  Brussels  carpet. 

(10)  (a)  What  is  meant  by  the  terms  2-pick  velvet, 
3-pick  velvet,  etc.?  (b)  How  may  figures  be  produced  with 
warp  pile  on  plain  or  twilled  grounds? 


2  PILE  WEAVES  §82 

(11)  Make  a  corduroy  weave  that  is  complete  on  16  ends 
and  6  picks,  the  ground  weave  to  be  plain. 

(12)  Make  an  original  velveteen  weave  arranged  in  the 
filling  1  pick  of  ground  and  3  picks  of  pile. 

(13)  Make  a  section  showing  the  interlacings  of  the  first 
4  picks  of  Fig.  15  with  the  warp.  Show  the  pile  picks  cut. 

(14)  Use  weave  129 ,  Glossary  of  Weaves,  enlarged  four 
times  in  each  direction  as  a  motive  for  a  figured  filling-pile 
fabric,  the  ground  weave  to  be  the  twill  and  the  goods 
picked  1  ground  and  3  pile. 

(15)  Show  harness  and  chain  drafts  for  Fig.  27  with  the 
pile  warp  drawn  on  the  front  harnesses. 

(16)  (a)  Make  a  velvet  weave  with  the  ^  twill  for  a 
ground  weave  and  have  the  entire  pile  warp  raised  over 

every  wire,  (b)  Make  a 
section  of  this  weave, 
showing  the  interlacing 
of  the  first  3  ends  with 
the  filling. 

(17)  Show  harness 
and  chain  drafts  for  the 
weave  made  in  answer 
to  question  16  (a). 

(18)  (a)  Make  a  weave 
with  the  same  ground 
weave  as  in  question  16, 
but  have  the  pile  ends 
lifted  alternately  over 

each  wire,  (b)  Make  a  section  of  this  weave,  showing  the 
interlacings  of  2  adjacent  pile  ends. 

(19)  Show  harness  and  chain  drafts  for  the  weave  made 
in  answer  to  question  18. 

(20)  Make  a  design  for  a  fabric  to  be  figured  with  warp 
pile  according  to  the  motive  given  in  Fig.  I,  the  warp  to  be 


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□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

BBBBBBBB 

BBBBBBBB 

□□□□□[ 

□□□□□[ 

BBBCZn 

Banco 

Bunco 

□□□CO 

□□□□□[ 

□□□□□i 

□□□□Bl 

□□□□Bl 

BBBBBBBn 

BflBBBBQn 

□BBamoa 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□■■■ 

□□□■■■■■ 

□■■■■■■a 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

BBBaaaaa 

BBBBBflfC 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□□□□□□□□ 

□BBBDmn 

Fig.  I 


82 


PILE  WEAVES 


3 


arranged  1  pile  and  2  ground,  and  the  cloth  to  be  picked 
3  picks  of  ground  and  1  shed  for  inserting  the  wire.  The 
ground  weave  is  to  be  the  -Sr  twill. 

( 21 )  —  ( 25 )  The  weave,  and  harness  and  chain  drafts  of 
the  enclosed  cloth  sample,  will  be  considered  as  equivalent 
to  the  answers  to  five  questions. 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  1) 


EXAMINATION  QUESTIONS 

(1)  What  is  the  solar  spectruVn  and  how  is  it  obtained? 

(2)  What  colors  are  generally  considered  as  primary 
colors  in  the  pigment  theory? 

(3)  State  whether  the  following  colors  are  primary, 
secondary,  or  tertiary:  (a)  blue,  (6)  purple,  ( c )  olive, 
(d)  green,  ( e )  orange,  (/)  red,  (g)  yellow. 

(4)  What  term  is  sometimes  used  for  black  and  white? 

(5)  (a)  What  is  a  simple  color?  Give  an  example. 

( b )  What  is  a  compound  color?  Give  an  example. 

(6)  Explain  the  following  terms:  (a)  tone;  ( b )  shade; 

(c)  tint;  ( d )  hue. 

(7)  What  is  meant  when  it  is  said  that  certain  colors 
harmonize? 

(8)  Discuss  the  use  of  the  primary*  colors  in  textile 
fabrics. 

(9)  How  does  the  build  of  a  fabric  alter  its  coloring? 

(10)  Name  some  factors  besides  the  build  of  the  fabric 
that  alter  the  appearance  of  the  color  in  a  fabric. 

(11)  Are  harmonious  effects  more  easily  obtained  in  tex¬ 
tile  fabrics  with  simple  or  with  compound  colors? 

2  83 


2 


COLOR  IN  TEXTILE  DESIGNING 


83 


(12)  Illustrate  the  several  stages  in  making  an  original 
color  effect. 

(13)  Show  color  effects  with  the  plain  weave  on  12  ends 
and  12  picks:  (a)  using  two  colors;  (b)  using  three  colors. 

(14)  Sketch  the  effect  of  a  2  and  2  coloring  in  both  warp 
and  filling  with  the  6-harness  twill  (Weave  117,  Glossary  ol 
Weaves) . 

(15)  (a)  Show  the  effect  on  16  ends  and  16  picks  pro¬ 
duced  by  warping  and  picking  the  cassimere  twill  4  black 
and  4  white,  (b)  Arrange  the  filling  2  white,  4  black,  2  white, 
and  show  the  effect  that  will  then  be  produced  if  the  same 
arrangement  of  the  warp  pattern  as  in  the  previous  effect  is 
retained. 


(16)  Show  the  effect  on  16  ends  and  16  picks  obtained 
with  the  crow  weave  (Weave  30,  Glossary  of  Weaves)  by 

warping  with  four  colors 
as  follows:  la,  lb,  1  c, 
1  d ;  and  picking  Id,  1  c, 
lb,  la. 

(17)  Make  an  original 
color  effect  to  be  com¬ 
plete  on  not  less  than  24 
ends  and  24  picks.  Show 


Fig.  I 


Fig.  II 


the  weave  and  orders  of  coloring. 


(18)  How  many  ends  and  picks  will  be  required  to  show 
one  repeat  of  the  color  effect  obtained  by  warping  and  pick¬ 
ing  the  regular  twill  4  black  and  4  white? 

(19)  Analyze  the  color  effect  shown  in  Fig.  I. 

(20)  Give  the  order  of  warping  and  picking,  and  also  the 
weave  for  producing  the  color  effect  shown  in  Fig.  II. 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  2) 


EXAMINATION  QUESTIONS 

(1)  Define  the  terms  simple  and  compound  colorings. 

(2)  State  whether  the  following  colorings  are  regular  or 
irregular,  and  also  whether  they  are  simple  or  compound 
arrangements:  ( a )  2  black,  1  white;  (b)  2  black,  2  white, 
2  red;  (r)  2  black,  4  white  for  18  threads;  2  white,  4  black  for 
18  threads;  {d)  4  white,  4  black  for  16  threads;  2  white, 
2  black  for  8  threads. 

(3)  How  are  figured  step  effects  produced? 

(4)  Give  the  order  of  arranging  warp  and  filling  yarns  to 
produce  a  solid  stripe  of  2  white  and  3  black  with  weave  84, 
Glossary  of  Weaves. 

(5)  How  can  figured  effects  be  produced  with  a  1  and 
1  coloring  and  the  plain  weave? 

(6)  {a)  Give  an  order  of  compound  coloring  that  will 
produce  four  different  effects  in  a  cloth  woven  with  the 
cassimere  twill  weave,  (b)  State  whether  the  arrangement 
of  colors  is  regular  or  irregular. 

(7)  Make  an  original  color  effect  with  an  irregular  simple 
order  of  coloring.  Show  weave  and  arrangement  of  colors. 

(8)  Show  the  effect  on  24  ends  and  24  picks  produced  by 
warping  and  picking  weave  185,  Glossary  of  Weaves,  2  black 
and  2  white. 


2 


COLOR  IN  TEXTILE  DESIGNING 


§84 


(9)  Show  the  effect  on  30  ends  and  30  picks  produced 
with  the  plain  weave  by  warping  1  white,  2  black  and  picking 
1  white,  1  black,  1  white,  2  black. 


(10)  Show,  on  12  ends  and  12  picks,  the  color  effect 
obtained  by  coloring  Fig.  I,  2  black,  1  white  in  the  warp 
and  2  white,  1  black  in  the  filling. 

(11)  Make  an  original  effect  after  the 
style  of  Fig.  7.  Show  weave  and  order 
of  coloring  in  warp  and  filling. 


□□I 


Fig.  I 


Fig. II 


(12)  Show  the  effect  on  24  ends  and 
24  picks  obtained  by  coloring  Fig.  II,  6  black  and  6  white  in 
both  warp  and  filling. 


(13)  Show  the  effect  on  16  ends  and  16  picks  of  coloring 
the  cassimere  twill  as  follows:  Warp,  2  white,  2  black, 

1  white,  2  black,  1  white;  filling,  2  white,  4  black,  2  white. 

(14)  (a)  Make  an  original  three-color  step  effect,  giving 
weave  and  orders  of  coloring  in  warp  and  filling.  ( b )  Alter 
the  above  effect  so  that, 
while  two  of  the  colors 
will  still  form  continuous 
steps,  the  third  will  form 
a  broken  effect. 

(15)  Show  the  effect 
on  24  ends  and  24  picks 
obtained  with  the  cassi¬ 
mere  twill  by  coloring 
both  warp  and  filling 

2  white,  2  black,  1  white, 

2  black,  1  white,  2  black, 

2  white. 

(16)  Show  the  effect 
of  warping  and  picking  Fig.  Ill,  1  white,  2  black,  1  white. 

(17)  Show  the  effect  on  24  picks  produced  with  weave  117, 
Glossary  of  Weaves ,  by  arranging  the  colors  in  warp  and 
filling  as  follows: 


■■□□□■■a 

■■■□□□aa 

□■■■□□□a 

□□bbbddd 

□□□BBBDD 

BBBDBDDD 

□BBBDDDB 

□DBBDDBB 

□DDBDBBB 

BDDDBBBD 

BBDDBBDD 

BBBDBDDD 

□BBBDDDB 

BBBDDDBB 

BBDDDBBB 

BDDDBBBD 

□□□BBBDD 

□DBBBDDD 

□BBBDDDB 

BBBDDDBB 

BBDDDBBB 

bdddbbbd 

BBDDDBBB 

BBBQDQIB 

□BBBDDDB 

BDDDBBBD 

□□□BBBDD 

□□BBBDDD 

□BBBDDDB 

□DBBDDBB 

□DDBDBBB 

BDDDBBBD 

BBDDBBDD 

□DBBDDBB 

□BBBDDDB 

BBBDBDDD 

BBDDBBDD 

BDDDBBBD 

□□□BBBDD 

DDBBBDDD 

□BBBDDDB 

BDDDBBBD 

BBDDDBBB 

BBBDDDBB 

□BBBDDDB 

BBBDDDBB 

BBDDDBBB 

BDDDBBBD 

□□□BBBDD 

□□BBBDDD 

□BBBDDDB 

BBBDDDBB 

BBDDDBBB 

□BBBDDDB 

BBBDDDBB 

BBDDDBBB 

BDDDBBBD 

□BBBDDDB 

□□BBBDDD 

□□□BBBDD 

BDDDBBBD 

□□BBBDDD 

□□□BBBDD 

BDDDBBBD 

BBDDDBBB 

BBBDDDBB 

□BBBDDDB 

□□BBBDDD 

□□□BBBDD 

Fig. Ill 


§84 


COLOR  IN  TEXTILE  DESIGNING 


3 


Warp  Pattern 


1  white] 

2  black  J 

3  white 

1  black  1 

2  white  J 
1  white 

1  black  1 

2  white  J 
1  black  1 
1  white] 
1  white 

1  black  1 

2  white  J 
1  white 

1  black  1 

2  white] 


for  12  ends 

for  12  ends 

for  9  ends 
for  12  ends 

for  9  ends 

for  12  ends 


Filling  Pattern 
2  white 
1  black 


COLOR  IN  TEXTILE 
DESIGNING 

(PART  3) 


EXAMINATION  QUESTIONS 

(1)  Make  a  color  effect  for  a  regular  two-color  stripe, 
using  the  cassimere  twill. 

(2)  Make  a  color  effect  for  a  regular  stripe,  using  three 
colors  and  employing  the  plain  weave. 

(3)  Make  a  color  effect  for  a  regular  shaded  stripe,  using 
the  prunelle  weave. 

(4)  (a)  Give  a  suitable  warp  pattern  for  an  irregular 
stripe  pattern  suitable  for  worsted  trousering.  ( b )  What 
color  will  serve  for  filling  in  the  above  pattern? 

(5)  Make  a  warp  hair-line  stripe  in  three  colors;  show 
the  weave  and  order  of  coloring  of  both  warp  and  filling. 

(6)  Give  a  suitable  warp  pattern  for  a  shaded  stripe  in 
two  colors. 

(7)  Make  a  stripe  effect  due  to  two  or  more  orders  of 
warping  combined  with  a  simple  filling  pattern  and  a  simple 
weave. 

(8)  Make  a  shaded  stripe  weave  based  on  the  7-harness 
satin  weave. 

(9)  Can  a  perfect  check  be  obtained  by  coloring  the  crow 
twill?  Give  reasons. 


2 


COLOR  IN  TEXTILE  DESIGNING 


§85 

(10)  What  would  be  the  effect  on  a  check  pattern  with 
the  same  warp  and  filling  pattern  if  the  cloth  were  woven 
with  40  ends  and  60  picks  per  inch? 

(11)  (a)  Show  a  color  effect  for  a  common  two-color 
check  made  with  the  cassimere  twill.  ( b )  Make  a  modifica¬ 
tion  of  the  above  check. 

(12)  ( a )  Show  a  color  effect  for  a  common  three-color 
check  made  with  the  plain  weave,  (b)  Make  a  modification 
of  the  above  check. 

(13)  Make  a  color  effect  with  an  overcheck. 

(14)  Make  a  color  effect  for  a  two-color 
counterchange  check,  using  the  plain  weave. 

(15)  Make  an  original  two-color  check  effect 
on  not  less  than  48  ends  and  48  picks. 

(16)  State  three  methods  of  obtaining 
shaded  checks. 

(17)  (a)  Make  a  three-color  common  check  effect. 
(b)  Make  a  modification  of  the  above. 

(18)  Make  an  original  set  check  effect. 

(19)  Make  a  compound  check  effect. 

(20)  Show  the  color  effect  on  32  ends  and  32  picks 
obtained  by  warping  and  picking  the  weave  shown  in  Fig.  I, 
8  white  and  8  black. 


□□■■□□■a 

□□■■□□■a 

BBBBDDCO 

BBBBDCOQ 

□□□□BBBB 

□□□□BBBB 

BBDDBBDD 

BBDCBBDfJ 


Fig.  I 


DESIGNING  IN  GENERAL 


EXAMINATION  QUESTIONS 

( 1 )  If  a  blanket  warp  contains  five  separate  warp  patterns, 
each  of  which  calls  for  a  different  filling  pattern,  how  many 
regular  samples  will  be  obtained  if  each  pattern  is  tied  over 
two  times  in  the  loom? 

(2)  State  some  of  the  points  that  should  be  taken  into 
consideration  when  equipping  the  designer’s  weave  room. 

(3)  Give  a  description  of  the  method  adopted  in  the 
designing  department  to  warp  the  yarn  for  a  sample  warp. 

(4)  Explain  the  process  of  tying  over  a  sample  warp. 

(5)  Give  a  short  description  of  the  origin  of  new  styles. 

(6)  If  a  blanket  warp  is  made  according  to  the  specifica¬ 
tions  given  in  Fig.  3  and  is  30  inches  wide,  how  many 
repeats  of  each  pattern  will  be  obtained? 

(7)  State  the  difference  between  the  trial  and  selling 
samples,  giving  the  uses  or  objects  of  each. 


(8)  Explain  what  is  meant  by  the  term  blanket  warp. 

(9)  The  warp  pattern  of  a  trial  sample  is  as  follows: 


White . 

6 

6 

4 

4 

Light  blue  .  .  . 

5 

6 

5 

Pink . 

2 

2 

Dark  blue  .  .  . 

40 

2 

40 

l  86 


92—36 


2 


DESIGNING  IN  GENERAL 


86 


Show  the  warp  patterns  for  five  other  trial  samples  after 
the  manner  shown  in  Fig.  3;  have  the  patterns  differ  in  the 
arrangement  of  the  colors,  but  not  in  the  arrangement  of 
the  pattern. 

(10)  Suppose  that  the  filling  pattern  for  each  sample 
given  in  answer  to  question  9  is  the  same  as  the  warp 
pattern;  what  changes  will  be  necessary  in  order  to  weave 
the  second  pattern  after  the  first  one  is  woven? 


INDEX 


Note.— All  items  in  this  index  refer  first  to  the  section  and  then  to  the  page  of  the  section. 
Thus,  ‘‘Checks  85  12”  means  that  checks  will  be  found  on  page  12  of  section  85. 


A  Sec.  Page 

Accidental  color . 83  5 

Analysis  of  cotton  fabrics  .....  72  1 

“  woolen  and  worsted 

fabrics . 73  1 

"  Points  to  be  determined 

by . 73  17 

Analyzing  color  effects . 83  19 

Angled  drafts  . . 71  20 

Angles  of  twills . .  .  75  6 

Applying  color  to  textiles,  Methods 

of.  .  .  . . 83  14 

Arrangement  of  harnesses . 81  20 

“  and  ends  81  7 

Ascertaining  percentage  of  mate-\ 

rials  in  union  fabrics .  73  26 

Attributes  of  color  . . 83  8 

B 

Back  of  fabric.  Determination  of  .  73  18 

Backed  cloths . 80  2 

“  cotton  fabrics.  Weaves  for  79  1 

“  fabrics . 80  3 

“  weaves,  Drafting  of  ...  80  19 

Bar  effect . 85  1 

‘  The  easing . 81  5 

Barry  cloths . 85  1 

Base  for  satin  weaves . 76  2 

Basket  weaves . 76  13 

Beaming  the  yarn . .  .  86  13 

Beams  required,  Number  of .  ...  72  22 

“  “  .  .  .  .  73  23 

Bedford  cords .  79  20 

“  and  piques  ....  79  15 

Black  watch  or  Highlander’s  plaid  85  26 

Blue  color . 83  10 

Bodies,  Luminous . 83  1 

“  Non-luminous . 83  1 

Bottom  doups . .81  3 

Broken  color . 83  4 

Brussels  carpets . 82  29 

Build  of  the  fabric . 83  13 


C  Sec.  Page 

Campbell  of  breadalbane  plaid  .  .  85  26 

Carpets .  82  28 

“  82  33 

Chain  and  harness  drafts . 78  19 

.  “  . 79  11 

“  draft . 71  11 

“  “ .  .  .  72  17 

“  " . 73  16 

"  “ . 81  40 

“  for  top  doups . 81  25 

“  Representing . 81  19 

“  drafts,  Harness  and  ....  81  30 

“  Effects  of  theharness 

and . 71  23 

Check,  Simple . 85  14 

“  weaves . 77  12 

Checks . 85  12 

“  and  stripes . 77  4 

“  Common . 85  14 

“  three-color  ...  85  20 

“  Compound . 85  17 

"  “  .  85  21 

"  Counterchange . 85  15 

“  formed  by  reversing  ...  77  16 

“  M  o di  fi c  at i on  s  of  three- 

color  common .  85  20 

“  Set .  85  21 

“  Shaded . 85  18 

“  “  . 85  ,  24 

“  stripes,  and  spots . 85  1 

“  Three-color .  85  20 

“  “  counterchange  85  23 

“  Two-color . 85  14 

Citrine  color . 83  11 

Classification  of  colors . 83  3 

“  ply  fabrics  ...  80  1 

Close-shed  looms,  Plain  gauze  on  .  81  3 

Cloth  analysis . 72  1 

“  “  73  1 

“  Dissecting . 72  5 

“  Shrinkage  of .  73  22 


vii 


INDEX 


viii 

Sec. 


Cloth-testing  machines . 86 

Cloths,  Backed . 80 

“  Barry . 85 

“  Cut  double . 80 

“  Double . 80 

“  Filling-backed . 79 

“  Triple . 80 

“  Warp-backed . 79 

“  with  a  wadding  filling  ...  80 

Color,  Accidental . 83 

“  Attributes  of . 83 

“  Blue . 83 

“  Broken . 83 

“  Citrine . 83 

“  Complement  of  a . 83 

“  effect . 83 

“  Effect  of  finishing  process 

on . 83 

“  Effect  of  structure  of  yarn 

on . 83 

“  Effect  of  the  build  of  the 

fabric  on . 83 

“  effects . 83 

“  Analyzing . 83 

“  Method  of  making  .  83 

“  Standard . 84 

“  Full . 83 

“  Green . 83 

“  Harmony  of . 83 

“  Hue  of  a . 83 

“  in  textile  designing . 83 

“  “  “  “  . 84 

.  “  . 85 

“  Methods  of  applying,  to  tex¬ 
tiles  . 83 

“  Olive . 83 

“  Orange . 83 

“  Pigment  theory  of . 83 

"  Pure . 83 

“  Purple . 83 

“  Red . 83 

“  Russet . 83 

“  schemes,  Records  of  ...  .  83 

sensation  .  .  .' . 83 

“  stripes . 85 

“  “  85 

“  Theory  of . 83 

“  Tone  of  a . 83 

“  Yellow . 8S 

Coloring  cotton . 83 

“  flax . 83 

“  Irregular  compound  ...  84 

“  Irregular  stripes  due  to 

warp . 85 

“  of  textile  fabrics . 83 

“  Principles  of . 83 


Sec.  Page 

Coloring  raw  material . 83  12 

Regular  compound  .  .  .  24 

“  Regular  stripes  due  to 

warp . 85  2 

“  silk . 83  12 

"  Stripes  due  to  warp  and 

filling . 85  6 

“  wool . 83  12 

Colorings,  Compound .  84  24 

Four  and  four . 84  9 

“  84  15 

Irregular  compound  .  .  84  31 

“  simple ....  84  19 

One  and  one . 84  2 

“  "  “ . 84  12 

“  84  17 

Regular . 84  2 

"  Simple  . 84  1 

Three  and  three  ...  84  8 

“  “  “  “  .  .  .  84  15 

.  ...  84  17 

Two  and  two . 84  6 

“  84  14 

"  **  "  " . 84  17 

Colors.  Classification  of . 83  3 

“  Compound . 83  3 

“  Contrast  of . 83  8 

“  Cool . 83  5 

“  Definitions  of . 83  3 

“  Modification  of . 83  7 

“  Primary . 83  3 

Combination  leno  effects . 81  52 

of  doups . 81  34 

weaves . 77  1 

Combinations  of  equally  flush 

weaves . 77  8 

of  equally  flush 

weaves . 77  12 

of  plain  and  gauze 
weaves . 81  53 


of  warp-  and  filling- 


flush  weaves  .  .  77  4 

of  weaves  of  differ¬ 
ent  structure  .  .  77  18 

“  Weaves  resulting 

from .  77  20 

Combining  twills.  Derivatives 

formed  by . 75  12 

Common-check  modifications  .  .  85  14 

“  checks . 85  14 

“  three-color  checks  ...  85  20 

Comparison  of  twills  and  satin  .  .  76  1 

Complement  of  a  color . 83  5 

Compound  and  simple  colorings  .  84  1 

checks  . . 85  17 

"  “  .  85  21 


Page 

5 

2 

1 

29 

22 

1 

36 

8 

18 

5 

8 

10 

4 

11 

5 

15 

13 

12 

13 

14 

19 

15 

1 

4 

10 

7 

4 

1 

1 

1 

14 

11 

9 

3 

4 

11 

8 

11 

18 

5 

3 

5 

1 

4 

9 

12 

12 

24 

4 

12 

1 


INDEX 


IX 


Compound  colorings . 

Sec.  Page 
84  24 

“  Irregular  .  . 

84 

31 

colors  . 

83 

3 

stripes . 

85 

8 

Constructing  harness  drafts  .  .  . 

71 

27 

new  weaves . 

77 

22 

Construction  of  harnesses  .... 

81 

20 

"  fabrics . 

71 

2 

“  pile  fabrics  .... 

82 

1 

“  satin  weaves  .  .  . 

76 

4 

“  spot  weaves  .  .  . 

78 

1 

“  twills . 

75 

1 

Contrast  of  colors . 

83 

8 

Cool  colors  . 

83 

5 

Cord  or  rib  weaves . 

76 

15 

Cords,  Bedford . 

79 

20 

Corduroys . 

82 

4 

Cutting . 

82 

8 

Corkscrew  weaves . 

76 

18 

Cotton,  Coloring . 

83 

12 

“  fabrics,  Analysis  of  ...  . 

72 

1 

“  Weaves  forbacked 

79 

1 

“  from  linen.  Distinguishing 

73 

26 

"  warp,  Tying  with  a  ...  . 

80 

27 

Counter,  Twist . 

72 

21 

<C  II 

73 

21 

Counterchange  checks  . 

85 

15 

“  Three-color 

85 

23 

Cross-weaving . 

81 

1 

Crossing  end . 

81 

7 

Curved  twills  . 

75 

24 

Cut  double  cloths . 

80 

29 

"  filling-backed  fabrics . 

80 

9 

Cutting  corduroys . 

82 

8 

D 

Definition  of  color  effects . 

83 

14 

Definitions  of  colors . 

83 

3 

Department,  Designing . 

86 

2 

Derivative  weaves  . 

76 

11 

Derivatives  and  twill  weaves  .  .  . 

75 

1 

formed  by  combining 

twills . 

75 

12 

formed  by  rearran- 

ging  ends  or  picks  . 

75 

10 

of  twill  weaves  .... 

75 

10 

Satin  .  . . 

76 

11 

Design  paper . 

71 

3 

“  Indicating  a  weave  on 

71 

5 

Designer  Duties  of  a . 

86 

1 

Designer’s  room.  Equipment  of .  . 

86 

3 

Designing,  Color  in  textile  .... 

83 

1 

*'  i*  II  II 

84 

1 

II  <i  ic  it 

85 

1 

department . 

86 

2 

Elementary  textile  .  . 

71 

1 

Sec.  Page 

Designing  in  general . 86  1 

Principles  of  textile  .  T  71  1 

Determination  of  face  and  back  of 

fabric  .....  73  18 

“  face  of  fabric  .  .  72  18 

“  raw  material  .  .  72  24 

“  .  .  .  73  24 

“  “  twist .  72  20 

“  “  “  73  20 

“  “  warp . 72  19 

“  “  “  73  18 

Diagonal  weaves  .........  75  31 

Diamond  weaves .  75  30 

Diaper  weaves  . 77  15 

Dissecting  a  pique  . 79  19 

Bedford  cord .  79  21 

“  cloth . 72  5 

leno  weaves . 81  64 

needle . 73  8 

or  picking  out . 73  5 

Distinguishing  linen  from  cotton  73  26 

silk  from  other 

yarns .  73  26 

woolen  from  wors¬ 
ted  yarn  ....  73  25 

Double  and  triple  cloths .  80  22 

“  cloth  weaves,  Drafting  .  .  80  35 

cloth  weaves  with  wadding 

yarns .  80  28 

"  cloths . *80  22 

“  “  Cut .  80  29 

“  plain  weaves .  80  31 

“  plushes .  82  23 

“  satins . 76  8 

“  warp-faced  fabrics  ....  80  16 

Doup  and  ground  ends  working 

plain . 81  38 

“  end . 81  2 

“  ends . 81  46 

“  Weaves  produced  by  81  39 

"  harness . 81  4 

Douping  end . 81  7 

Doups,  Bottom . 81  3 

“  Drafts  for  top . 81  25 

“  Right-hand  and  left-hand  81  34 

“  Top . 81  19 

Draft,  Chain . 71  11 

“  “  72  17 

. 73  16 

“  “  81  40 

“  Drawing-in . 71  9 

“  Harness . 71  9 

“  “  . 81  16 

“  “  . 81  39 

“  Constructing  a  .  .  71  27 

Drafting  back  weaves . 80  19 


X 


INDEX 


Sec. 

Page 

Drafting  double-cloth  weaves  .  .  . 

80 

35 

“  triple-cloth  weaves  .  .  . 

80 

38 

Drafts,  Angled . . 

71 

20 

“  Effects  of  the  harness  and 

chain  . 

71 

23 

“  Harness  and  chain  .... 

78 

19 

<<  it  tt  tl 

79 

11 

“  or  drawing-in  .  . 

72 

14 

“  “  ‘  “  <k 

73 

14 

“  Point  . 

71 

19 

“  Satin  . 

71 

22 

“  Section . 

71 

22 

“  Skip . 

71 

21 

“  Straight . 

71 

17 

“  Types  of . 

71 

17 

Drawing-in  draft  . 

71 

9 

“  “  drafts,  Harness  .  .  . 

73 

14 

“  “  or  harness  drafts  .  .  . 

72 

14 

“  “  and  weaving . 

86 

13 

Duties  of  a  designer . 

86 

1 

E 

Easer,  The  . . 

81 

5 

Easing  bar,  The . 

81 

5 

Effect,  Bar . 

85 

1 

“  Color . 

83 

15 

“  of  build  of  fabric  on  color 

83 

13 

of  structure  of  yarn  on  color 

83 

12 

"  c^f  the  finishing  process  on 

color . 

83 

13 

“  of  the  weave . 

71 

16 

“  Weave . 

83 

14 

Effects,  Analyzing  color . 

83 

19 

“  Color . 

83 

14 

“  Combination  leno . 

81 

52 

“  Figured  step . 

84 

6 

“  formed  by  inserting  picks 

before  douping  .  . 

81 

36 

“  Method  of  making  color  . 

83 

15 

"  obtained  without  addi- 

tional  mechanisms  .  .  . 

81 

58 

of  the  harness  and  chain 

drafts . 

71 

23 

produced  independently  of 

the  weave . 

81 

62 

“  requiring  doup  ends  .  .  . 

81 

46 

“  Standard  color . 

84 

1 

“  Stripe  spot . 

78 

18 

“  Two-color  step . 

84 

3 

“  with  extra  warp,  Spot .  .  . 

78 

11 

“  the  plain  weave,  Fig- 

ured . 

84 

3 

Elementary  textile  designing  .  .  . 

71 

1 

End,  Crossing . 

81 

7 

“  Doup  .  . . 

81 

2 

“  Douping . 

81 

7 

Sec.  Pagi 


End,  Ground . 81  2 

“  Whip . 81  7 

Ends  and  harnesses . 81  7 

“  Effects  requiring  doup  ...  81  46 

“  or  picks.  Derivatives  formed 

by . 75  10 

“  Weaves  produced  by  doup  .  .  81  39 

“  “  “  ground  81  39 

Entwining  twills .  75  20 

Equally  flush  weave . 75  2 

“  flush  weaves.  Combina¬ 
tions  of . 77  8 

“  flush  weaves,  Combina¬ 
tions  of . 77  12 

Equipment  of  designer’s  room  .  .  86  3 

“  weave  room  ....  86  6 

Extensions  of  regular  two-color 
patterns . 84  10 


F 

Fabric,  Determination  of  face  of  .  73  18 

“  “  .  “  “  “  .  72  18 


“  Effect  of  build  of,  on  color  83  13 

"  Filling-backed . 79  1 

“  Gauze  . . 81  1 

“  Ply . 80  1 

Fabrics,  Analysis  of  cotton  ....  72  1 

“  Analysis  of  woolen  and 

worsted . 73  1 

“  Ascertaining  percentage 

of  materials  in  union  .  73  26 

“  Backed . 79  1 

“  “  . 80  3 

“  Classification  of  ply  ...  80  1 

“  Construction  of . 71  2 

“  “  “  pile  ...  82  1 

“  Cut  filling-backed  ....  80  9 

“  Double  warp-faced  ...  80  16 

“  Factors  modifying  the 

coloring  of . 83  12 

“  Figured  filling-pile  ....  82  16 

"  Figured  warp-pile  ....  82  27 

“  Filling-backed . 80  3 

“  Filling-pile . 82  3 

“  Origin  of  new . 86  7 

“  Varieties  of  pile .  82  33 

“  Velvet .  82  21 

“  Warp-backed . 79  8 

“  “  “  . .  .  80  13 

“  Warp-pile . 82  3 


“  “  “ . 82  IS 

“  Weaves  for  backed  cotton  79  1 

Face  of  fabric.  Determination  of  .  72  18 

Factors  modifying  the  coloring  of 


textile  fabrics . 83  12 

Fancy  basket  weaves . 76  14 


INDEX 


xi 


Sec.  Page 


Fancy  gauze  effects . 81  34 

“  “  or  leno . 81  34 

"  twills . 75  17 

Figured  effects  with-  the  plain 

weave . 84  3 

"  filling-pile  fabrics  ....  82  16 

filling  reversibles  ....  80  11 

step  effects . 84  5 

warp-pile  fabrics .  82  27 

reversibles . 80  17 

Filling  and  warp  coloring,  Stripes 

due  to . 85  6 

and  warp-flush  weaves, 

Combinations  of . 77  4 

“  and  warp.  Spot  weaves 

formed  with . 78  1 

backed  cloths . 79  1 

“  fabrics . 79  1 

“  “  “  . 80  3 

“  “  “  Cut  ....  80  9 

“  flush  satins . 76  3 

"  weave  .  . . 75  2 

“  pattern . 72  4 

. 73  5 

“  pile  fabrics . 82  3 

“  “  “  Figured  ....  82  16 

“  reversibles . 80  10 

rib  weaves . 76  16 

“  spots . 78  1 

formed  by  extra  .  .  78  22 

“  spot  weaves . 78  8 

“  Tying .  78  24 

“  Wadding . 79  15 

“  Warp-backed  cloths  with  a  80  18 

Finishing  process,  Effect  of,  on 

color . 83  13 

Flax,  Coloring . 83  12 

Flush  weaves,  Combinations  of  .  77  8 

"  “  “  .  77  12 

Four  and  four  colorings . 84  9 

.  84  15 

.  84  17 

change  method  of  construct¬ 
ing  new  weaves .  77  22 

“  color  patterns . 84  16 

“  “  simple  patterns.  Irreg¬ 
ular  .  84  21 

Full  color . 83  4 

Fustian .  82  33 

G 

Gauze  and  plain  weaves.  Combi¬ 
nations  of . 81  53 

“  effects,  Producing  fancy  .  .  81  34 

“  fabric,  Plain  .  81  1 

“  “  Pure . 81  1 


Sec.  Pagi 


Gauze  on  close-shed  looms  ....  81  3 

“  “  open-shed  looms  ....  81  26 

“  or  leno,  Fancy . 81  34 

Gingham . 85  IS 

Glass,  Pick . 72  8 

“  “ . 73  9 

Glossary  of  weaves . 70  1 

Gordon  plaid .  85  25 

Granite  weaves . 76  12 

Green  color . 83  10 

Ground  end . 81  2 

“  ends  and  doup  work  plain. 

Weaves  in  which  the  .  81  38 

“  ends,  Weaves  produced 

by . 81  39 

“  weave . 78  3 

H 

Hair-line  stripe . 85  7 

“  lines,  Color . 85  7 

Harmony  of  color . 83  7 

Harness  and  chain  drafts . 78  19 

.  79  11 

. .  “  . 81  30 

.  71  23 

“  Doup . 81  4 

“  draft . 71  9 

“  “  . *81  16 

“  “  81  39 

“  for  top  doups  ...  81  25 

“  drafts,  Constructing  ...  71  27 

“  “  Types  of . 71  17 

“  or  drawing-in  draft  ...  72  14 

. drafts  .  .  73  14 

“  Standard . 81  3 

“  weave  and  chain  drafts. 

Representing  the  ...  81  13 

Harnesses . 81  3 

and  ends.  Arrangement 

of . 81  7 

Arrangement  of  ....  81  20 

Construction  of  ....  81  20 

Operation  of . 81  8 

“  “  “ . 81  21 

Highlander’s  or  black  watch  plaid  85  26 

Honeycomb  weaves .  76  21 

Honeycombs .  76  21 

Hue  of  a  color . 83  4 

I 

Indicating  a  weave  on  design 

paper,  Method  of . 71  5 

Irregular  and  regular  simple  color¬ 
ings  . 84  2 

“  basket  weaves . 76  14 

“  compound  coloring  ...  84  24 


INDEX 


xii 

Sec. 


Irregular  compound  colorings  .  .  84 

“  four-color  simple  pat¬ 
terns  . 84 

“  point  drafts . 71 

"  simple  colorings . 84 

11  stripes  due  to  warp  col¬ 
oring  . 85 

“  Shaded . 85 

“  three-color  simple  pat¬ 
terns  . 84 

“  two-color  simple  patterns  84 

J 

Jumper,  Use  of . 81 

L 

Left-hand  and  right-hand  doups  .  .  81 
Leno  effects,  Combination  ....  81 

“  or  gauze,  Fancy . 81 

“  weaves  . 81 

“  Dissecting . 81 

Light . 83 

Linen  from  cotton.  Distinguishing  73 

“  tester . 72 

“  “  73 

Lines,  Color  hair . 85 

Looms,  Plain  gauze  on  close-shed  81 
“  *“  “  “  open- shed  81 

Luminous  bodies . 83 

M 

MacGowan  plaid . 85 

Machine,  Yarn-examining . 86 

“  testing . 86 

Machines.  Cloth-testing . 86 

MacPherson  plaid . 85 

Making  color  effects . 83 

Material,  Coloring  raw . 83 

“  Determination  of  raw  .  72 

“  “  “  “  .  73 

Materials  in  union  fabrics,  Per¬ 
centage  of . 73 

Mechanisms,  Effects  obtained 

without  additional . 81 

Method  of  constructing  new 

weaves.  Four-change  .  77 
“  of  indicating  a  weave  on 

design  paper . 71 

“  of  making  color  effects  .  83 
Methods  of  applying  color  to  tex¬ 
tiles  . 83 

“  “  producing  fancy  gauze 

effects  . 81 

“  “  producing  samples  .  .  86 

“  “  representing  the 

weave  harness  and 
chain  drafts  ....  81 


Sec.  Paze 


Modification  of  colors . 83  7 

Modification,  Common-check  ...  85  14 

of  three-color  com 
mon  checks  ...  85  20 

Modifying  the  coloring  of  textile 

fabrics . 83  12 

Motives,  Weaves  formed  from  .  .  77  20 

N 

Needle,  Dissecting  .......  73  8 

“  Picking  out . 73  8 

New  weaves.  Four-change  method 

of  constructing .  77  22 

Non-luminous  bodies . 83  1 

Number  of  beams  required  ....  72  22 

“  “  “  “  ....  73  23 

O 

Olive  color . 83  11 

One  and  one  colorings . 84  2 

“  “  “  “  . 84  12 

.  “  . 84  17 

Open-shed  looms.  Plain  gauze  on  81  26 

Operation  of  harnesses . 81  f 

“  “  “  . 81  2i 

Orange  color . 83  9 

Origin  of  new  styles  of  fabrics  .  .  86  7 

Overchecks . 85  15 

P 

Paper,  Design . 71  3 

“  Method  of  indicating  a 

weave  on  design  ....  71  5 

Pattern,  Filling . 72  4 

“  “  73  5 

“  Warp . 72  3 

“  “  73  3 

Patterns,  Extensions  of  regular 

two-color . 84  10 

“  Four-color . 84  16 

“  Irregular  four-color 

simple  ...  84  21 

t  h  r  e  e-c  o  1  o  r 
simple  ...  84  21 

“  “  two-color 

simple  ...  84  19 

“  Three-color . 84  12 

“  Two-color . 84  2 

Pegging  plan . 71  15 

Percentage  of  material  in  union 

fabrics .  73  26 

Pick  glass . 72  8 

“  “  73  9 

Picking  out  . 72  5 

“  “  needle . 73  8 

“  “  or  dissecting  .....  73  5 


Page 

31 

21 

20 

19 

4 

5 

21 

19 

27 

34 

52 

34 

1 

64 

1 

26 

8 

9 

7 

3 

26 

1 

25 

4 

4 

5 

25 

15 

12 

24 

24 

26 

58 

22 

5 

15 

14 

34 

7 

13 


INDEX 


xiu 


Sec.  Page 

Picks  or  ends,  Derivatives  formed 


by  rearranging- . 75  10 

Pigment  theory  of  color . 83  3 

Pile  fabrics.  Construction  of  ...  82  1 

“  Varieties  of .  82  33 

“  weaves . .82  1 

Pique,  Dissecting  a . 79  19 

Piques . 79  15 

“  and  Bedford  cords . 79  15 

“  Wadding . 80  18 

Plaid,  Black  watch  or  Highlander’s  85  26 

“  Campbell  of  breadalbane  .  .  85  26 

Gordon .  85  25 

“  MacGowan  . .  85  25 

“  MacPherson .  85  25 

“  Royal  Stuart .  85  25 

Plaids . 85  13 

“  Scotch .  85  24 

Plain  and  gauze  weaves . 81  53 

“  gauze . 81  1 

“  gauze  on  close-shed  looms  .  81  3 

“  “  open-shed  looms  .  81  26 

“  weave . 71  2 

“  Figured  effects  with 

the . 84  3 

“  weaves,  Double .  80  31 

Plan,  Pegging . 71  15 

Plushes.  Double .  82  23 

Ply  fabric . 80  1 

“  weaves.  Woolen  and  worsted  .  80  1 

Point  drafts . 71  19 

Pointed  twills .  75  28 

Points  to  be  considered  when  con¬ 
structing  harness  drafts  .  71  27 

'  to  be  determined  by  analysis  73  17 

Preparation  of  sample . 72  7 

“  “  “  73  6 

Primary  colors . 83  3 

Principles  of  coloring  .......  83  1 

“  textile  designing  ...  71  1 

Prismatic  colors . .  .  83  3 

Process,  Effect  of  finishing, on  color  83  13 

Producing  fancy  gauze  effects  .  .  .  81  34 

samples,  Methods  of  .  .  86  7 

Pure  color . 83  4 

“  gauze  fabric  .  .  .....  81  1 

Purple  color . 83  11 


See.  Page 


Regular  compound  coloring ....  84  24 

“  point  drafts . 71  19 

“•  shaded  stripes . 85  4 

“  stripes  due  to  warp  color¬ 
ing . 85  2 

“  twills . 75  4 

“  two-color  patterns,  Exten¬ 
sions  of . 84  10 

Repeat  of  the  weave . 75  3 

Repeats . 83  17 

Representing  chain  draft . 81  19 

the  weave . 81  13 

Required,  Number  of  beams  ...  72  22 

Reversibles,  Figured  warp  ...  80  17 

“  filling  ....  80  11 

Filling . 80  10 

Satin . 80  10 

Warp . 80  16 

Reversing,  Checks  formed  by  ...  77  16 

Rib  weaves . 76  15 

“  Unequal . 76  17 

Ribs,  Warp . 76  15 

Right-hand  and  left-hand  doups, 

Combination  of . 81  34 

Rip  or  cord  weaves . 76  15 

Room,  Equipment  of  designer’s  .  .  86  3 

“  weave  ....  86  6 

Royal  Stuart  plaid .  85  25 

Rule  for  making  regular  twills  .  .  75  6 

Russet  color . 83  11 

*S 

Sample,  Preparation  of . 72  7 

“  “  “ . 73  6 

Samples,  Selling . 86  16 

“  Trial . 86  7 

Sateen . 76  1 

Satin  and  other  weaves . 76  1 

“  derivatives . 76  11 

“  drafts . 71  22 

“  reversibles . 80  10 

“  Six-end . 76  4 

“  weaves . 76  2 

Satins  and  twills . .  .  76  1 

“  Double . 76  8 

“  Filling-flush.  .......  76  3 

“  Warp-flush . 76  3 

Schemes,  Records  of  color  ....  83  18 

Scotch  plaids .  85  24 

Secondary  colors . 83  3 

Section  drafts . 71  22 

Selling  samples . 86  16 

Sensation,  Color . 83  5 

Set  checks . 85  21 

Shade,  A . 83  4 

Shaded  checks  ...........  85  18 


R 

Raw  material,  Coloring . 83  12 

Determination  of  .  72  24 

“  “  “  “  .  73  24 

Records  of  color  schemes . 83  18 

Red  color . 83  8 

Regular  simple  colorings . 84  2 

“  basket  weaves . 76  13 


XIV 


INDEX 


Sec.  Page  Sec.  Past 


Shaded  checks . 

85 

24 

Stripes,  Three-,  or  more,  color  .  . 

85 

1 

“  diagonal  weaves . 

75 

31 

“  Two-color . 

85 

2 

“  irregular  stripes  . 

85 

5 

Structure  of  yarn.  Effect  of,  on 

“  stripes . 

85 

12 

color . 

83 

12 

“  Regular . 

85 

4 

Styles  of  fabrics.  Origin  of  new  .  . 

86 

7 

Shrinkage  of  cloth . 

73 

22 

Silk,  Coloring . 

83 

12 

T 

“  from  other  yarns,  Distin- 

Table  of  modification  of  colors  .  . 

83 

7 

guishing . 

73 

26 

Take-up  in  weaving . 

72 

22 

Simple  and  compound  colorings 

84 

1 

Tapestry  carpets . 

82 

28 

“  check  . 

85 

14 

Terry  towels . 

82 

25 

“  colorings,  Irregular  .  .  . 

84 

19 

Tertiary  colors . 

83 

4 

“  Regular  .... 

84 

2 

Tester,  Linen . 

72 

8 

“  colors  . 

83 

3 

“  “ 

73 

9 

“  patterns,  Irregular  .... 

84 

19 

Textile  designing,  Color  in  .... 

83 

1 

Single-end  stripe  weaves . 

77 

11 

(<  <•  “  " 

84 

1 

Six-end  satin  . 

76 

4 

"  "  “  “ 

85 

1 

Skip  drafts  . 

71 

21 

Elementary  .  . 

71 

1 

“  twills . 

75 

27 

Principles  of  .  . 

71 

1 

Slackener,  The . 

81 

5 

fabrics,  Factors  modifying 

Solar  spectrum . 

83 

2 

the  coloring  of . 

83 

12 

Spectrum  colors . 

83 

3 

Textiles,  Methods  of  applying 

Spot  effects,  Stripe . 

78 

18 

color  to . 

83 

14 

"  “  with  extra  warp  .  .  . 

78 

11 

Theory  of  color . 

83 

1 

■'  stripe . 

78 

18 

"  “  Pigment . 

83 

3 

“  weaves  . 

78 

1 

Three  and  three  colorings . 

84 

8 

“  with  an  extra  system 

41  11  It  It 

84 

15 

of  yarn . 

78 

11 

It  It  11  It 

84 

17 

“  with  one  system  of 

“  color  checks . 

85 

20 

warp  and  filling  .  . 

78 

1 

“  “  counterchange  checks 

85 

23 

Spots  . ., . 

85 

26 

“  “  patterns . 

84 

12 

"  Filling . 

78 

1 

"  “  simple  patterns  .  .  . 

84 

21 

"  formed  by  extra  filling  .  .  . 

78 

22 

“  or  more,  color  hair  lines  .  . 

85 

7 

“  stripes,  and  checks . 

85 

1 

“  “  “  “  stripes  .  .  . 

85 

3 

“  Tying . 

78 

14 

Tint,  A . 

83, 

4 

“  Warp .  . 

78 

1 

Tone  of  a  color . 

83 

4 

Standard  color  effects . 

84 

1 

Top  doups . 

81 

19 

“  harness  . 

81 

3 

it  it 

81 

25 

“  types  of  harness  drafts 

71 

17 

Towels,  Terry  . . 

82 

25 

Step  effects,  Figured . 

84 

5 

Trial  samples . 

86 

7 

“  Two-color . 

84 

3 

Triple  and  double  cloths  . . 

80 

22 

Straight  drafts . 

71 

17 

“  cloth  weaves . 

80 

36 

Stripe,  Hair-line . 

85 

7 

Twill  basket  weaves . 

76 

13 

“  spot  effects . 

78 

18 

11  weaves  and  derivatives  .  . 

75 

1 

“  weaves . 

77 

4 

“  Derivatives  of  .  .  . 

75 

10 

“  Single-end . 

77 

11 

Twills  and  satins . .  . 

76 

1 

Striped  gingham  . 

85 

13 

“  Angles  of . 

75 

6 

Stripes  and  checks . 

77 

4 

“  Construction  of . 

75 

1 

“  checks,  and  spots  ..... 

85 

1 

“  Curved . 

75 

24 

“  Compound  . 

85 

8 

“  Derivatives  formed  by  com- 

"  due  to  the  weave . 

85 

11 

bining . 

75 

12 

“  due  to  warp  and  filling  col- 

“  Entwining . 

75 

20 

oring . 

85 

6 

“  Fancy . .  . . 

75 

17 

“  due  to  warp  coloring  .  .  . 

85 

2 

'*  Pointed  . . 

76 

28 

"  Regular  shaded  ...... 

85 

4 

“  Regular ......... 

75 

4 

“  Shaded 

85 

12 

“  Skip . . 

75 

27 

INDEX 


xv 


Sec.  Page 

Sec. 

Page 

Twist  counter . 

72 

21 

Warp  pattern  . . 

73 

3 

ac  ii 

73 

21 

pile  fabrics . 

82 

3 

“  Determination  of . 

72 

20 

«i  ii 

82 

18 

•c  «<  '« 

73 

20 

“  “  Figured  .  .  .  . 

82 

27 

Two  and  two  colorings . 

84 

6 

reversibles . 

80 

16 

,e  “  “  " 

84 

14 

rib  weave . 

76 

15 

01  4.  4.  a! 

84 

17 

ribs . 

76 

15 

Two-color  checks  . . 

85 

14 

Spot  effects  with  extra  .  .  . 

78 

11 

“  “  hair  lines . 

85 

7 

weaves  . 

78 

1 

"  “  patterns . 

84 

2 

spots . 

78 

1 

“  “  simple  patterns  .  .  .  . 

84 

19 

Tying  with  a  cotton  .... 

80 

27 

“  “  step  effects . 

84 

3 

Warped-faced  fabrics,  Double  .  . 

80 

16 

“  “  stripes . 

85 

2 

Warping  the  yarn . 

86 

9 

Tying  filling . 

78 

24 

Watch,  Black,  or  Highlander’s 

"  over . 

86 

14 

plaid . 

85 

26 

"  spots . 

78 

14 

Weave . 

71 

2 

“  with  a  cotton  warp . 

80 

27 

effect . 

83 

14 

Types  of  harness  drafts . 

71 

17 

"  of  the . 

71 

16 

U 

Effects  produced  independ- 

ently  of  the  . 

81 

62 

Unequal  rib  weaves . 

76 

17 

Equally  flush . 

75 

2 

Union  fabrics,  Percentage  of  mate- 

Figured  effects  with  the 

rials  in . 

73 

26 

plain . 

84 

8 

Filling-flush . 

75 

2 

V 

Ground . .  . 

78 

3 

Varieties  of  pile  fabrics . 

82 

33 

harness,  and  chain  drafts. 

Velvet  fabrics . 

82 

21 

Representing  the  .... 

81 

13 

Velveteen.  . . 

82 

11 

on  design  paper,  Indie  a- 

Velvets . . 

82 

21 

ting  a . 

71 

5 

W 

44 

Plain  . 

71 

2 

44 

Repeat  of  the  .  .  t  .  .  .  . 

75 

3 

Wadding  filling . 

79 

15 

44 

Representing  the . 

81 

13 

“  Warp-backed 

room,  Equipment  of  .  .  . 

86 

6 

cloths  with  a  . 

80 

18 

44 

Stripes  due  to  the . 

85 

11 

piques . 

80 

18 

4  C 

The . 

81 

24 

yarns,  Double  cloth 

44 

Warp-flush  . 

75 

2 

weaves  with . 

80 

28 

rib . 

76 

15 

Warm  colors . 

83 

5 

Weaves,  Base  for  satin . 

76 

2 

Warp  and  filling  coloring,  Stripes 

Basket . 

76 

13 

due  to . 

85 

6 

Combination  . 

77 

1 

*’  and  filling-flush  weaves, 

“ 

81 

38 

Combinations  of . 

77 

4 

Combinations  of  equally 

01  and  filling,  Spot  weaves 

flush . 

77 

8 

formed  with  one  system 

Combinations  of  equally 

of . 

78 

1 

flush . 

77 

12 

**  backed  cloths . 

79 

8 

1C 

Combinations  of  plain 

*°  backed  cloths  with  a  wad- 

and  gauze  . 

81 

53 

ding  filling . 

80 

18 

ec 

Combinations  of  warp- 

"  backed  fabrics . 

79 

8 

and  filling-flush  .... 

77 

4 

•«  44  a 

80 

13 

61 

complete  on  2  ends  .  .  . 

70 

3 

'  coloring,  Stripes  due  to  .  . 

85 

2 

complete  on  3  ends  .  .  . 

70 

4 

M  Determination  of  .....  . 

72 

19 

44 

complete  on  4  ends  .  .  . 

70 

4 

•4  ||  |J 

73 

18 

44 

complete  on  5  ends  .  .  . 

70 

7 

flush  satins  . . 

76 

3 

44 

complete  on  .6  ends  .  .  . 

70 

9 

weave  ......... 

75 

2 

44 

complete  on  7  ends  .  .  . 

70 

11 

pattern  ........... 

72 

i 

44 

complete  on  8  ends  .  .  . 

70 

12 

XVI 


INDEX 


Sec. 

Weaves  complete  on  10  ends  ...  70 

“  complete  on  12  ends  ...  70 

complete  on  16  ends  ...  70 

"  complete  on  20  ends  ...  70 

“  complete  on  24  ends  ...  70 

“  Construction  of  satin  .  .  76 

“  spot  .  .  78 

“  Corkscrew . 76 

“  Derivative . 76 

“  Derivatives  of  twill  ...  75 

“  Diagonal . 75 

“  Diamond . 75 

"  Diaper . 77 

“  Dissecting  leno . 81 

“  Double  plain . 80 

“  Drafting  back . 80 

"  double-cloth  .  .  80 

“  triple-cloth  ...  80 

“  Fancy  basket . 76 

“  Filling-rib . 76 

“  spot . 78 


for  backed  cotton  fabrics  79 
formed  from  motives  .  .  77 
formed  with  an  extra  sys¬ 
tem  of  yarn,  Spot  .  .  78 
formed  with  one  system 
of  warp  and  filling, 


Spot . 78 

Four-change  method  of 

constructing . 77 

Glossary  of . 70 

Granite . 76 

Honeycomb . 76 

in  which  ends  work  plain  81 

Irregular  basket . 76 

Leno . 81 

Pile . 82 

produced  by  doup  ends .  81 
produced  by  ground  ends  81 

Regular  basket . 76 

resulting  from  combina¬ 
tions  .  ...  77 

Rib  or  cord . 76 


Sec.  Pazt 


Weaves,  Satin  and  other . 76  1 

"  Shaded  diagonal .  75  31 

“  Single  and  stripe . 77  11 

"  Spot . 78  1 

“  Stripe . 77  4 

“  Triple-cloth .  80  36 

“  Twill  basket . 76  13 

“  Unequal  rib . 76  17 

“  Warp-spot . 78  1 

with  wadding  yarns. 

Double  cloth .  80  28 

Woolen  and  worsted  ply  80  1 

Weaving  and  drawing  in . 86  13 

“  Take-up  in . 72  ”22 

Whip  end . 81  7 

Wilton  carpets .  82  33 

Wool,  Coloring . 83  12 

Woolen  and  worsted  fabrics.  Anal¬ 
ysis  of . 73  1 

"  and  worsted  ply  weaves  .  80  1 

“  from  worsted  yarn,  Dis¬ 
tinguishing  .  73  25 

Worsted  and  woolen  fabrics,  Anal¬ 
ysis  of . 73  1 

"  and  woolen  ply  weaves  .  80  1 

Y 

Yarn,  Beaming  the . 86  IS 

“  Distinguishing  woolen  from 

worsted .  73  25 

“  Effect  of  structure  of,  on 

color . 83  12 

“  examining  machine  ....  86  4 

“  Spot  weaves  formed  with 

an  extra  system  of  ....  78  11 

■'  testing  machine . 86  4 

“  Warping  the . 86  9 

Yarns,  Distinguishing  silk  from 

other .  73  26 

“  Double-cloth  weaves  with 

wadding .  80  28 

Yellow  color  . . 83  9 

Yoke.  Use  of . 81  29 


Paee 

15 

18 

22 

29 

33 

4 

1 

18 

11 

10 

31 

30 

15 

64 

31 

19 

35 

38 

14 

16 

8 

1 

20 

11 

1 

22 

1 

12 

21 

38 

14 

1 

1 

39 

39 

13 

20 

15 


ra=3pO 


GETTY  CENTER  LIBRARY 


3  3125  00745  9007 


